Theory of architecture paper. 10 pages essay, double spaced

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Syllabus: ARCD 401-01 Introduction to Architectural Theory & the Written Word University of San Francisco Fall 2020 4 units _____________________________________________________________________________________________

Instructor: Steven I. Doctors, Ph.D. Class time: Tuesdays and Thursdays 8:00 to 9:45 AM Location: Remote instruction _____________________________________________________________________________________________

Course Description

We regularly engage with the physicality of architecture, that is, the buildings and places that enable, envelop, and mark our daily lives. Yet architecture also exists in the written word, captured in texts that theorize from diverse perspectives the process and significance of architectural conception, realization and human experience. Through extensive reading, writing and student-led seminar-style discussions, we will carefully examine representative theories and perspectives on architecture from antiquity to the present.

Weekly themes include education and practice, language, space, truth and ethics, history and the past, future and utopia, ornament and precision, rationality and scientific thinking, the everyday, globalization and technology. Students will use written and visual interpretative techniques to demonstrate and extend their understanding of the weekly themes and readings, as well as develop critical thinking skills about the nature, potential and limitations of theory as it crosses into practice. Learning Outcomes (ARCD 401)

Learning objectives for this course include:

• Introducing students to diverse theories about architecture, and the challenges and consequences of theory crossing into practice.

How this outcome will be met: Students will discuss and critique readings representative of a broad range of architectural theorizations.

• Understanding how architecture’s engagement with societal, cultural, and political exigencies is manifested in the written word.

How this outcome will be met: Reading assignments will demonstrate the diverse perspectives employed in the observation and critique of architecture as a discipline and profession.

• Thinking, speaking and writing critically about the diverse interpretations and theorizations of architecture.

How this outcome will be met: Students will lead and participate in classroom discussions, and prepare interpretative assignments to develop their critical thinking, writing and argumentation skills.

Learning Outcomes (ARCD Program)

• Students will gain a broad understanding of the historic development of architecture and cities and an overview of theories, analyses and criticisms related to historical buildings, landscapes and cities.

• Students will gain an understanding of basic visual principles, concepts, and modes of architectural representation.

• Students will learn to observe, analyze and represent the built environment.

• Students will learn concepts of space planning, spatial and formal expression.

• Students will obtain an understanding of structure and material in design and construction of buildings.

• Students will understand the role of society and culture in the process of architectural design.

• Students will gain knowledge and understand the importance of using architectural skills to work with diverse communities both locally and internationally to create positive social change in the built environment.

• Students will learn about the various factors that affect the relationship of ecology and environment to cities and buildings.

• Students will be introduced to the concepts and methods of civil and structural engineering.

Readings and Assignments

• Weekly readings (Gleeson databases, eBooks and Canvas) • Thematic interpretative essays • Module interpretative assignments • Final essay • Class participation, meaningful contribution and effort

Course Schedule

Module A Week 1: August 18 and 20 Theme: Education and Practice

1st session: Netiquette policy, course overview, syllabus review, introduction to theory/history/critique and argumentation skills, and discussion leader assignments. Discuss Teresa Stoppani, Giorgio Ponzo

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and George Themistokleous, “This thing called theory,” in Teresa Stoppani, Giorgio Ponzo and George Themistokleous, eds., This Thing Called Theory, (London and New York: Routledge, 2017), 1-5 (Canvas).

2nd session: Discuss Vitruvius, “Book 1 Preface” (not the general “Preface" on iii, iv, v and vi) and “Chapter 1 - The Education of the Architect,” in The Ten Books on Architecture, trans. Morris Hickey Morgan (Cambridge: Harvard University Press, 1914 [20 B.C.]), 3-13 (Canvas); Leon Battista Alberti, On the Art of Building in Ten Books, trans. Joseph Rykwert, Neil Leach, and Robert Tavernor (Cambridge, MA and London: The MIT Press, 1999 [mid-1400s]), 1-6 (Canvas); Craig L. Wilkins, “A Soul Practitioner,” in Dan Pitera and Craig Wilkins, Activist Architecture: The Philosophy and Practice of Community Design Centers (Ann Arbor: Detroit Collaborative Design Center, 2015), 25-44 (Canvas); and Peggy Deamer, “Work,” Perspecta 47: Money (2014), 27-39 (Canvas).

Week 2: August 25 and 27 Theme: Language

1st session: Discuss Discuss Colin Davies, “Chapter 2: Language” in Colin Davies, Thinking about Architecture: An Introduction to Architectural Theory (London: Laurence King Publishing, 2011), (Gleeson eBook); John Summerson, “The Essentials of Classicism,” in The Classical Language of Architecture (London: Methuen & Company, Ltd.,1966), 7-13 (Canvas); Bruno Zevi, The Language of Modern Architecture (Canberra: Australian National University Press, 1978), 3-6 and 7-63 (Canvas); and Robert Venturi and Denise Scott Brown, “A Significance for A&P Parking Lots or Learning from Las Vegas,” (1968) in Kate Nesbitt, ed., Theorizing a New Agenda for Architecture: An Anthology of Architectural Theory - 1965-1995 (New York: Princeton Architectural Press, 1996), 308-321 (Canvas).

2nd session: Share your own two-page essay on architecture and language in relation to the assigned readings. Prior to the start of class, upload as a .pdf file to the shared Google Drive (for sharing) and to Canvas in response to the assignment (for Turnitin originality verification and grading).

Week 3: September 1 and 3 Theme: Space

1st session: Discuss Paul Goldberger, “Architecture as Space,” in Paul Goldberger, Why Architecture Matters (New Haven: Yale University Press, 2009), 109-138 (Gleeson eBook); Henri Lefebvre, from The Production of Space (Oxford and Maiden, MA: Blackwell Publishing, 1991), 360-365 (Canvas); Craig L. Wilkins,“(W)rapped Space: The Architecture of Hip Hop,” Journal of Architectural Education vol. 54, no. 1 (2000), 7-19 (Gleeson databases); and Eckhard Feddersen, “Learning, Remembering and Feeling Space,” in Eckhard Feddersen, Lost in Space: Architecture and Dementia (Basel: Birkhäuser, 2014), 15-23 (Gleeson eBook).

2nd session: Share your own two-page essay on architecture and space in relation to the assigned readings. Prior to the start of class, upload as a .pdf file to the shared Google Drive (for sharing) and to Canvas in response to the assignment (for Turnitin originality verification and grading).

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Maisha Cannavo

Week 4: September 8 and 10 Theme: Truth and Ethics

1st session: Discuss Colin Davies, “Chapter 5: Truth” in Colin Davies, Thinking about Architecture: An Introduction to Architectural Theory (London: Laurence King Publishing, 2011), (Gleeson eBook) John Ruskin, “Chapter 2 - The Lamp of Truth,” in The Seven Lamps of Architecture (London: Electric Book Co. 2001 [1889], 54-102 (Gleeson eBook); Diane Ghirardo, “The Architecture of Deceit,” Perspecta, volume 21 (1984), 110-115 (Gleeson databases); and Jane Collier, “The Art of Moral Imagination: Ethics in the Practice of Architecture,” Journal of Business Ethics, volume 66 (2006), 307– 317 (Gleeson databases).

2nd session: Share your own two-page essay on architecture, truth and ethics in relation to the assigned readings. Prior to the start of class, upload as a .pdf file to the shared Google Drive (for sharing) and to Canvas in response to the assignment (for Turnitin originality verification and grading).

Week 5: September 15 and 17 Module A interpretative assignment

1st and 2nd sessions: Students present one (1) photo for each of the Module A weekly themes, with each image depicting essential characteristics of the theme (for instance, complexity of multiple sub-themes or opposing positions). Photos shall be original work specifically for this assignment, and may be of buildings/places/objects observed in-person (not from the Internet or other sources). Students will present their photos in class and explain how the photos relate to and synthesize the readings and class discussions. When presenting photos, students should be as accurate and precise as possible (for instance, what is the building/place/object, where is it located, approximately how old is it, etc.) by relying on field notes or minimal background research. Prior to the start of class, upload photos as a single .pdf file to the shared Google Drive (for sharing) and to Canvas in response to the assignment (for grading).

Note for Fall 2020: When working on this assignment, students should prioritize personal safety/health and compliance with applicable public health guidelines.

Module B Week 6: September 22 and 24 Theme: History and the Past

1st session: Discuss Dana Arnold, “Chapter 1 - Reading the Past: What is Architectural History?” in Dana Arnold, ed., Reading Architectural History (London and New York: Routledge, 2002), 1-13 (Gleeson eBook); Geoffrey Scott, The Architecture of Humanism: A Study in the History of Taste (Boston and New York, Houghton Mifflin Company, 1914), 1-12 (Canvas); Colin Rowe, The Mathematics of the Ideal Villa and other Essays (Cambridge, MA and London: The MIT Press, 1982 [1947]), 2-27 (Canvas); and M. Christine Boyer, “Collective Memory Under Siege: The Case of Heritage Terrorism,” in C. Greig Crysler, Stephen Cairns, and Hilde Heynen, eds., The SAGE Handbook of Architectural Theory (London: SAGE Publications Ltd., 2012), 325-339 (Gleeson eBook).

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2nd session: Removal of Monuments from Public Spaces. A recorded webinar by the Society of Architectural Historians Heritage Conservation Committee.

Week 7: September 29 and October 1 Theme: Future and Utopia

1st session: Discuss Nathaniel Coleman, “The Problematic of Architecture and Utopia,” Utopian Studies, Vol. 25, No. 1 (2014), 1-22 (Gleeson databases); Adelaida Serras, “Dystopian Female Images in More's Utopia, ” SEDERI: Yearbook of the Spanish and Portuguese Society for English Renaissance Studies. (January 2002), 323-330 (Gleeson databases); Juan Pro Ruiz, “Chapter 1 - Utopia in the Spanish Language: The Origin of a Word, the History of an Idea,” in Juan Pro Ruiz, Utopias in Latin America: Past and Present (Brighton and Portland: Sussex Academic Press, 2018), 15-35; and Martino Stierli, “Building No Place: Oscar Niemeyer and the Utopias of Brasilia,” Journal of Architectural Education, volume 67-1 (2013), 8-16 (Gleeson databases).

2nd session: Share your own two-page essay on architecture, future and utopia in relation to the assigned readings. Prior to the start of class, upload as a .pdf file to the shared Google Drive (for sharing) and to Canvas in response to the assignment (for Turnitin originality verification and grading).

Week 8: October 6 and 8 Theme: Ornament and Precision

1st session: Discuss Hakan Saglam, “Re-thinking the Concept of ‘Ornament’ in Architectural Design,” Procedia: Social and Behavioral Sciences, volume 122 (2014), 126-133 (Gleeson databases); Louis Sullivan, “Ornament in Architecture,” The Engineering Magazine (1892), 187-190 (Canvas); Mario Carpo, “Excessive Resolution: From Digital Streamlining to Computational Complexity,” Architectural Design (November 2016), 78-83 (Gleeson databases); and Francesca Hughes, “Counted Away,” in Architecture of Error (Cambridge, MA: MIT Press, 2014), 217-245 (Gleeson databases).

2nd session: Share your own two-page essay on architecture, ornament and precision in relation to the assigned readings. Prior to the start of class, upload as a .pdf file to the shared Google Drive (for sharing) and to Canvas in response to the assignment (for Turnitin originality verification and grading).

Week 9: October 13 and 15 Module B interpretative assignment

1st and 2nd sessions: Students present one (1) photo for each of the Module B weekly themes, with each image depicting essential characteristics of the theme (for instance, complexity of multiple sub-themes or opposing positions). Photos shall be original work specifically for this assignment, and may be of buildings/places/objects observed in-person (not from the Internet or other sources). Students will present their photos in class and explain how the photos relate to and synthesize the readings and class discussions. When presenting photos, students should be as accurate and precise as possible (for instance, what is the building/place/object, where is it located, approximately how old is it, etc.) by relying on field notes or minimal background research. Prior to the start of class, upload photos as a single .pdf file to the shared Google Drive (for sharing) and to Canvas in response to the assignment (for grading).

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Note for Fall 2020: When working on this assignment, students should prioritize personal safety/health and compliance with applicable public health guidelines.

Week 10: October 20 and 22 Open Theme Week #1

1st and 2nd sessions: Students share 1-page essays on a reading of their choice (not from the syllabus) highlighting a theory theme, perspective or voice not represented in the syllabus. Prior to the start of class, upload as a .pdf file to the shared Google Drive (for sharing) and to Canvas in response to the assignment (for Turnitin originality verification and grading). Students should be prepared to discuss their essay in class.

Introduce final essay assignment due Week 14.

Module C Week 11: October 27 and 29 Theme: Rationality and Scientific Thinking

1st session: Discuss Nigel Cross, “Science and Design Methodology: A Review,” Research in Engineering Design, volume 5 (1993), 63-69 (Gleeson databases); Christopher Alexander, “Preface to the Paperback Edition,” “Introduction: The Need for Rationality” and “The Program,” in Notes on the Synthesis of Form, (Cambridge, MA: Harvard University Press, 1973 [1964]), preface, 1-11 and 73-83 (Canvas); Horst Rittel and Melvin Webber, “Dilemmas in a General Theory of Planning,” Policy Sciences, volume 4 (1973), 155-169 (Gleeson databases); and Robert Brandt, Gordon Chong, and W. Mike Martin, Design Informed: Driving Innovation with Evidence-based Design (Hoboken, NJ: John Wiley & Sons, Inc., 2010), 1-10 (Gleeson eBook).

2nd session: Share your own two-page essay on architecture, rationality and scientific thinking in relation to the assigned readings. Prior to the start of class, upload as a .pdf file to the shared Google Drive (for sharing) and to Canvas in response to the assignment (for Turnitin originality verification and grading).

Week 12: November 3 and 5 Theme: The Everyday

1st session: Discuss Deborah Berke, “Thoughts on the Everyday,” in Deborah Berke and Steven Harris, ed., Architecture of the Everyday (Princeton: Princeton Architectural Press, 1997), 222-226 (Gleeson eBook); Bell Hooks, “Black Vernacular: Architecture as Cultural Practice,” in Art on My Mind: Visual Politics (New York: The New Press, 1995), 145-151 (Canvas); Johana Londoño, “Latino Design in an Age of Neoliberal Multiculturalism: Contemporary Changes in Latin/o American Urban Cultural Representation,” Identities: Global Studies in Culture and Power, 17:5) 487-509 (Gleeson databases); and Stephen Cairns and Jane M. Jacobs, “Chapter 9 - Demolition” in Buildings Must Die: A Perverse View of Architecture (Cambridge, MA and London: The MIT Press, 2014), 193-219 (Canvas).

2nd session: Film screening of The Pruitt-Igoe Myth

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Week 13: November 10 and 12 Themes: Globalization and Technology

1st session: Discuss Stephen Cairns, “Drifting,” in Stephen Cairns, ed., Drifting: Architecture and Migrancy (London and New York: Routledge, 2004), 17-47 (Gleeson eBook); Alessandro Petti, Sandi Hilal and Eyal Weizman, “Introduction” in Architecture After Revolution (Berlin: Sternberg Press, 2013), 6-23 (Canvas); and Rem Koolhaas, “Junkspace,” October, col. 100, Obsolescence (Spring 2002): 175-190 (Gleeson databases).

2nd session: Michael Hardt and Antonio Negri, “Postmodernization, or The Informatization of Production,” in Michael Hardt and Antonio Negri, Empire (Cambridge, MA: Harvard University Press, 2000), 280-303 (Gleeson eBook); Peggy Deamer, “Globalization and the Fate of Theory” in Gevork Hartoonian, ed., Global Perspectives on Critical Architecture (London and New York: Routledge, 2015), 27-42 (Canvas); and Mario Carpo, “Digital Darwinism: Mass Collaboration, Form-Finding, and The Dissolution of Authorship,” Log, volume 22 (2012), 97-105 (Gleeson databases).

Week 14: November 17 and 19 Theme: “This Thing Called Theory”

1st session: Teresa Stoppani, “Post-scriptum. But that is not enough,” in Teresa Stoppani, Giorgio Ponzo and George Themistokleous, eds., This Thing Called Theory, (London and New York: Routledge, 2017), 298-304 (Canvas).

2nd session: Work session. Final essay due by end of class. Write a 10-page final essay on architectural theory encompassing all themes from the semester. The essay is to be an original work written specifically for this assignment but may incorporate edited and refined aspects of your previous essays from this course. Rather than a simple summary of each theme, the essay should synthesize all themes, readings and ideas from the semester into one or more concise, well-considered and carefully-crafted arguments (not just opinions) about architecture. Upload final essay as a .pdf file to Canvas in response to the assignment (for Turnitin originality verification and grading).

Week 15: November 24 and 26 No classes (Thanksgiving Break).

Week 16: December 1 and 3 Open Theme Week #2

1st and 2nd sessions: Students share 1-page essays on a reading of their choice (not from the syllabus) highlighting a theory theme, perspective or voice not represented in the syllabus. Prior to the start of class, upload as a .pdf file to the shared Google Drive (for sharing) and to Canvas in response to the assignment (for Turnitin originality verification and grading). Students should be prepared to discuss their essay in class.

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Grading Thematic interpretative essays: 30 points (6 @ 5 points each) Module interpretative assignments: 10 points (2 @ 5 points each) Open theme assignments: 10 points (2 @ 5 points each) Final essay: 25 points Class participation, meaningful contribution and effort: 25 points

Assignments will be given a numerical grade corresponding to the point distribution above. For a complete explanation of grade valuations, refer to the grading system outlined in the USF general catalog. In summary, the following values are assigned to letter grades, which may be modified by plus (+) or minus (-):

A = Outstanding B = Superior C = Satisfactory D = Lowest passing grade (for units, only) F = Failing

Important note: Since this a required course for the ARCD major, students must earn a minimum of a C- to satisfy the ARCD requirement.

Class Policies, Expectations, and Resources

• In addition to completing all assignments, students are expected to attend all classes and contribute to class discussions. Attendance is vital to succeeding in this course. One (1) unexcused absence will lower a student’s final course grade by a partial grade level (for instance, from A to A- or from A- to B+). Two (2) unexcused absences will lower the final course grade by a full letter grade level (for instance, from A to B or from A- to B-).  Three (3) or more unexcused absences will result in an unconditional F for the course. Students will be marked late if they arrive ten (10) or more minutes after class starts. Two (2) late arrivals will count as one (1) unexcused absence.

• Students are expected to read the syllabus thoroughly and to check it weekly for assignments. No credit will be given for late assignments, nor extra credit opportunities to offset missed assignments.

• Students are expected to take written or digital notes during each class session. These notes are critical to course comprehension and to completing course assignments.

• Electronic devices may be used for note-taking but may not under any circumstances be used in class for work unrelated to this course or for any Internet activity whatsoever (e-mail, text messages, searches, posting, etc.) without prior permission from the instructor.

• Students are responsible for regularly checking e-mails from the instructor at the student e-mail address listed on Canvas.

• If you are a student with a disability or disabling condition, or if you think you may have a disability, please contact USF Student Disability Services (SDS) at (415) 422-2613 within the first week of class, or

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immediately upon onset of disability, to speak with a disability specialist. If you are determined eligible for reasonable accommodations, please meet with your disability specialist so they can arrange to have your accommodation letter sent to me, and we will discuss your needs for this course. For more information, visit http://www.usfca.edu/sds.

• All students are expected to behave in accordance with the Student Conduct Code and other University policies (see http://www.usfca.edu/fogcutter/). Students whose behavior is disruptive or who fail to comply with the instructor may be dismissed from the class for the remainder of the class period and may need to meet with the instructor or Dean prior to returning to the next class period. If necessary, referrals may also be made to the Student Conduct process for violations of the Student Conduct Code.

• As a Jesuit institution committed to cura personalis -- the care and education of the whole person -- USF has an obligation to embody and foster the values of honesty and integrity. USF upholds the standards of honesty and integrity from all members of the academic community. All students are expected to know and adhere to the University's Honor Code. You can find the full text of the code online at http://myusf.usfca.edu/academic-integrity/. The policy covers:

• Plagiarism — intentionally or unintentionally representing the words, ideas or work of another person as your own; failure to properly cite references; manufacturing references.

• Working with another person when independent work is required. • Submission of the same paper or other assignment in more than one course without the specific

permission of each instructor. • Submitting a paper or other assignment written or prepared by another person or obtained from

the Internet. •  The penalties for violation of the policy may include a failing grade on the assignment, a failing

grade in the course, and/or a referral to the Academic Integrity Committee

• CAPS’ diverse staff offers brief individual, couple, and group counseling to student members of our community. CAPS services are confidential and free of charge. Call (415) 422-6352 for an initial consultation appointment. Telephone consultation through CAPS After Hours is available Monday - Friday from 5:00 p.m. to 8:30 a.m., 24 hours during weekends and holidays; call the above number and press 2. Further information can be found at https://myusf.usfca.edu/student-health-safety/caps.

• As instructors, one of our responsibilities is to help create a safe learning environment on our campus. We also have a mandatory reporting responsibility related to our role as faculty. We are required to share information regarding sexual misconduct or information about a crime that may have occurred on USF’s campus with the University. Here are some useful resources related to sexual misconduct:

• To report any sexual misconduct, students may visit the Title IX coordinator (UC 5th floor) or see many other options by visiting usfca.edu/student_life/safer.

• Students may speak to someone confidentially or report a sexual assault confidentially by contacting Counseling and Psychological Services at (415) 422-6352.

• To find out more about reporting a sexual assault at USF, visit USFs Callisto website at: usfca.callistocampus.org.

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• For an off-campus resource, contact San Francisco Women Against Rape (SFWAR) (415) 647-7273 (sfwar.org)

• The Learning, Writing, and Speaking Centers at USF provide individualized support to assist you in better understanding course material and to aid you on your path to success. Services are free and include one-on-one tutoring, group tutoring, and one-on-one Academic Skills Coaching appointments to discuss effective study strategies. The Learning Center supports over 80 courses each semester. The Writing Center helps students develop their writing skills in rhetoric, organization, style, and structure, through one-on-one interactive conferences. The Speaking Center helps students prepare for public speaking — including speeches, oral presentations, team presentations, and visual aid demonstrations. International students may also contact us to learn more about communicating with professors and general academic study skills. The Learning, Writing, and Speaking Centers are located on the Lower Level of Gleeson Library (G03). Please visit their website at myusf.usfca.edu/lwsc for more information: myusf.usfca.edu/lwsc

• Students who wish to have the tuition charges reversed on their student account should withdraw from the course(s) by the end of the business day on the last day to withdraw with tuition credit (census date) for the applicable course(s) in which the student is enrolled. Please note that the last day to withdraw with tuition credit may vary by course. The last day to withdraw with tuition credit (census date) listed in the Academic Calendar is applicable only to courses which meet for the standard 15- week semester. To find what the last day to withdraw with tuition credit is for a specific course, please visit the Online Class Schedule at www.usfca.edu/schedules.

• Netiquette & Digital Citizenship Policy Arrive on time and attend for the entire session. Present yourself professionally. Dress appropriately as you would in the classroom. Listen and dialogue with each other respectfully. Keep your video on so that your engagement is visible (Videos can be turned off if you are experiencing bandwidth issues, have a temporary interruption, or have made other arrangements with the instructor.)  Keep your microphone muted, unless speaking. During lectures/presentations, use chat for questions to be addressed during periodic breaks. During Q&A/discussions, use virtual hand for questions and sharing ideas with the instructor and classmates. Be aware of your actions on camera. Zoom presentations, images or recordings may not be reproduced or redistributed in any manner.

Contact Information Steven I. Doctors, Ph.D., AIA [email protected] (415) 422-2453

Office hours: Zoom meetings by appointment.

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