B005316 - HISTORY OF ARCHITECTURE III

Italian

Italian

The course aims to provide basic knowledge of the history of architecture and the western city from the last quarter of the nineteenth century until the sixties of the twentieth century, with an overview of the main protagonists of the final decades of the 20th century and the beginning of the 21th century.

The basic bibliography recommended for the exam consists of the texts that are listed below - each characterized by a different interpretative cut - to use comparing them and integrating them with each other.
B. Bergdoll, European architecture 1750-1890, Oxford, Oxford University. Press, 2000; R. Middleton, D. Watkin, Architettura dell'Ottocento, Milano, Electa, 1980; G. Fanelli, R. Gargiani, Storia dell'architettura contemporanea, Roma-Bari, Laterza, 1998; M. Biraghi, Storia dell'architettura contemporanea, I e II volume, Torino, Einaudi 2008; A. Muntoni, Lineamenti di storia dell'architettura contemporanea, Roma-Bari, Laterza 2015 (o edizioni precedenti); L. Spagnoli, Storia dell'urbanistica moderna. Dall'età della borghesia alla globalizzazione (1815-2010), Bologna, Zanichelli, 2012.
Per acquisire nozioni complementari sulle arti figurative: E. Crispolti, Come studiare l'arte contemporanea, Roma, Donzelli, 1997; F. Rovati, L'arte del primo Novecento, Einaudi, Torino 2015; A. Del Puppo, L'arte contemporanea. Il secondo Novecento, Einaudi, Torino 2013.

hey are considered fundamental, in the return of individual issues, the following aspects: dating and social-political context; patronage; design and the Role of process; characters and distribution in relation to the function; relationships with the urban context; theoretical and philosophical aspects of architectural expressiveness; the building materials.
At the end of the course, students must demonstrate:
1. to possess appropriate knowledge on the main historical and cultural events in the moments and in the geographic areas examined;
2. to possess adequate knowledge on techniques, functions and formal languages;
3. to possess adequate knowledge about the protagonists in the periods treated and their main works;
4. to know diachronic architectural types, the most important compositional and constructive period of the Treaty, such as museums; libraries; university complexes; social housing; stations and airports; private residences; theaters and cinemas; public spaces/squares; museum exhibitions and displays.
5. to be able to read typological and compositional schemes, linguistic issue; structural solutions; vernacular architecture;
6. to be able to work out judgments on spatial quality, aesthetic, technical and social architectures examined;
7. to use an argumentative skills and a language appropriate to the topics discussed, and know how to use appropriate written communication skills (writing any reports accompanied by notes and bibliographies);
8. to possess the tools to expand and update their knowledge, incorporating the proposed bibliography, amassing collections of images and reliefs, exercising their critical capacity even on issues not covered in the course

Have passed the examinations of History of architecture, I and II

ectures; seminars; one external tour; two written test. The detailed articulation and content of the seminars will be presented in the first lesson

They are considered fundamental, in the return of individual issues, the following aspects: dating and social-political context; patronage; design and the role of process; characters and distribution in relation to the function; relationships with the urban context; theoretical and philosophical aspects of architectural expressiveness; the building materials.
At the end of the course, students must demonstrate that they have achieved the general objectives of the course; in particular, the student must have a non-superficial knowledge (and therefore including the history, the client, the design process the distribution and structural characteristics, materials, spatial and formal aspects) of the following buildings:
1. G. Eiffel, Tour Eiffel, Parigi
2. C.R. Mackintosh, School of Art, Glasgow
3. L. Sullivan, Guaranty Building, Buffalo
4. F.L. Wright, Frederick C. Robie House, Chicago
5. F.L. Wright, Larkin Building, Buffalo
6. F.L. Wright, Unity Temple, Oak Park (Ill.) .
7. F.L. Wright, Edgar Kaufmann House, Mill Run (Penn.)
8. H. Guimard, Padiglioni per le fermate della Metropolitana, Parigi
9. V. Horta, Hôtel Tassel, Bruxelles
10. A Gaudì, Palau Güell, Barcellona
11. A. Gaudì, Sagrada Familia, Barcellona
12. . J.M. Olbrich, Haus der Sezession, Vienna
13. Wagner, Majolikahaus, Vienna
14. O. Wagner, Sankt Leopold am Steinhof, Vienna
15. J. Hoffmann, Palazzo Stoclet, Bruxelles
16. E. Mendelsohn, Einsteinturm, Potsdam
17. A. Loos, Edificio Goldman & Salatsch, Vienna
18. A. Loos, Casa Müller, Praga
19. A. Sant’Elia, Edificio a gradoni (progetto)
20. V. Tatlin, Monumento alla Terza Internazionale, Leningrado (progetto)
21. El Lissitskij, Tribuna di Lenin (progetto)
22. T. van Doesburg e C. van Eesteren, Maison particulière (progetto)
23. G. Rietveld, Casa Schröder, Utrech
24. P. Behrens, Turbinenfabrik AEG, Berlino
25. B. Taut, Padiglione dell’industria del vetro all’Esposizione del Deutscher Wekbund di Colonia, 1914
26. H. van de Velde, Teatro dell’Esposizione del Deutscher Werkbund di Colonia, 1914
27. W. Gropius e A. Meyer, Fabbrica di forme per scarpe Fagus, Alfeld-an-der-Leine
28. W. Gropius, Sede del Bauhaus, Dessau
29. L. Mies van der Rohe, Villa in mattoni, Neubabelsberg (Berlino)
30. L. Mies van der Rohe, Padiglione della Germania all’Esposizione Internazionale di Barcellona, 1929
31. L. Mies van der Rohe, Casa Tugendhat, Brno
32. A. Perret, Immeuble de rapport in rue Franklin, Parigi
33. A. Perret, Museé des Travaux Publics, Parigi
34. Le Corbusier, Ossatura strutturale “Domino” (progetto)
35. Le Corbusier, Casa La Roche-Jeanneret, Parigi
36. Le Corbusier, Villa Savoye, Poissy
37. G. Terragni, Casa del Fascio, Como
38. G. Michelucci con il Gruppo Toscano, Stazione ferroviaria, Firenze
39. A. Aalto, Biblioteca comunale, Viipuri
40. A. Aalto, Villa Mairea, Noormarkku
41. R. Neutra, Lovell House, Los Angeles
42. W. Gropius e TAC, Dormitori Harkness, Cambridge (Mass.)
43. L. Mies van der Rohe, Crown Hall, Illinois Institute of Technology, Chicago
44. L. Mies van der Rohe, Seagram Building, New York
45. F.L. Wright, Guggenheim Museum, New York
46. L.I. Kahn, Richards Medical Research Laboratories, Philadelphia
47. P. Johnson, Glass House, New Canaan
48. O. Niemeyer, Casa Niemeyer, Rio de Janeiro
49. BBPR, Torre Velasca, Milano
50. Le Corbusier, Unité d’Habitation, Marsiglia
51. Le Corbusier, Cappella di Notre-Dame-du-Haut, Ronchamp A. e P. Smithson, The Economist building, Londra
52. C. Scarpa, Allestimento del Museo di Castelvecchio, Verona
53. R. Venturi, Vanna Venturi House, Chestnut Hill, Philadelphia
54. A. Rossi, Cimitero, Modena
55. Rem Koohlas, Villa Dall’Ava, St. Cloud, Parigi
56. Snøhetta, Biblioteca di Alessandria d’Egitto
57. David Chipperfield, Ristrutturazione del Neues Museum, Berlino
58. Renzo Piano, Ampliamento della Pierpont Morgan Library, New York
59. Rem Koohlas, Seattle Public Library
60. Zaha Hadid, MAXXI Museo nazionale delle arti del XXI secolo, Roma

For those attending there will be two written tests and an oral exam. The last one will focus on the deepening of a topic chosen among the thematic seminars and agreed with the professor.
For those not attending it is provided only oral exam on the topics of the course

The course aims to provide basic knowledge of the history of architecture and the western city the last quarter of the nineteenth century until the sixties of the twentieth century, with an overview of the main protagonists of the final decades of the 20th century and the beginning of the 21th century.
The course aims to provide basic knowledge of the history of architecture and the western city the last quarter of the 19th century until the sixties of the 20th century, with an overview of the main protagonists of the final decades of the 20th century and the beginning of the 21th century.

They are considered fundamental, in the return of individual issues, the following aspects: dating and social-political context; patronage; design and the role of process; characters and distribution in relation to the function; relationships with the urban context; theoretical and philosophical aspects of architectural expressiveness; the building materials.
At the end of the course, students must demonstrate that they have achieved the general objectives of the course; in particular, the student must have a non-superficial knowledge (and therefore including the history, the client, the design process the distribution and structural characteristics, materials, spatial and formal aspects) of the following buildings:
1. . G. Eiffel, Tour Eiffel, Parigi
2. C.R. Mackintosh, School of Art, Glasgow
3. L. Sullivan, Guaranty Building, Buffalo
4. F.L. Wright, Frederick C. Robie House, Chicago
5. F.L. Wright, Larkin Building, Buffalo
6. F.L. Wright, Unity Temple, Oak Park (Ill.) .
7. F.L. Wright, Edgar Kaufmann House, Mill Run (Penn.)
8. H. Guimard, Padiglioni per le fermate della Metropolitana, Parigi
9. V. Horta, Hôtel Tassel, Bruxelles
10. A Gaudì, Palau Güell, Barcellona
11. A. Gaudì, Sagrada Familia, Barcellona
12. . J.M. Olbrich, Haus der Sezession, Vienna
13. Wagner, Majolikahaus, Vienna
14. O. Wagner, Sankt Leopold am Steinhof, Vienna
15. J. Hoffmann, Palazzo Stoclet, Bruxelles
16. E. Mendelsohn, Einsteinturm, Potsdam
17. A. Loos, Edificio Goldman & Salatsch, Vienna
18. A. Loos, Casa Müller, Praga
19. A. Sant’Elia, Edificio a gradoni (progetto)
20. V. Tatlin, Monumento alla Terza Internazionale, Leningrado (progetto)
21. El Lissitskij, Tribuna di Lenin (progetto)
22. T. van Doesburg e C. van Eesteren, Maison particulière (progetto)
23. G. Rietveld, Casa Schröder, Utrech
24. P. Behrens, Turbinenfabrik AEG, Berlino
25. B. Taut, Padiglione dell’industria del vetro all’Esposizione del Deutscher Wekbund di Colonia, 1914
26. H. van de Velde, Teatro dell’Esposizione del Deutscher Werkbund di Colonia, 1914
27. W. Gropius e A. Meyer, Fabbrica di forme per scarpe Fagus, Alfeld-an-der-Leine
28. W. Gropius, Sede del Bauhaus, Dessau
29. L. Mies van der Rohe, Villa in mattoni, Neubabelsberg (Berlino)
30. L. Mies van der Rohe, Padiglione della Germania all’Esposizione Internazionale di Barcellona, 1929
31. L. Mies van der Rohe, Casa Tugendhat, Brno
32. A. Perret, Immeuble de rapport in rue Franklin, Parigi
33. A. Perret, Museé des Travaux Publics, Parigi
34. Le Corbusier, Ossatura strutturale “Domino” (progetto)
35. Le Corbusier, Casa La Roche-Jeanneret, Parigi
36. Le Corbusier, Villa Savoye, Poissy
37. G. Terragni, Casa del Fascio, Como
38. G. Michelucci con il Gruppo Toscano, Stazione ferroviaria, Firenze
39. A. Aalto, Biblioteca comunale, Viipuri
40. A. Aalto, Villa Mairea, Noormarkku
41. R. Neutra, Lovell House, Los Angeles
42. W. Gropius e TAC, Dormitori Harkness, Cambridge (Mass.)
43. L. Mies van der Rohe, Crown Hall, Illinois Institute of Technology, Chicago
44. L. Mies van der Rohe, Seagram Building, New York
45. F.L. Wright, Guggenheim Museum, New York
46. L.I. Kahn, Richards Medical Research Laboratories, Philadelphia
47. P. Johnson, Glass House, New Canaan
48. O. Niemeyer, Casa Niemeyer, Rio de Janeiro
49. BBPR, Torre Velasca, Milano
50. Le Corbusier, Unité d’Habitation, Marsiglia
51. Le Corbusier, Cappella di Notre-Dame-du-Haut, Ronchamp A. e P. Smithson, The Economist building, Londra
52. C. Scarpa, Allestimento del Museo di Castelvecchio, Verona
53. R. Venturi, Vanna Venturi House, Chestnut Hill, Philadelphia
54. A. Rossi, Cimitero, Modena
55. Rem Koohlas, Villa Dall’Ava, St. Cloud, Parigi
56. Snøhetta, Biblioteca di Alessandria d’Egitto
57. David Chipperfield, Ristrutturazione del Neues Museum, Berlino
58. Renzo Piano, Ampliamento della Pierpont Morgan Library, New York
59. Rem Koohlas, Seattle Public Library
60. Zaha Hadid, MAXXI Museo nazionale delle arti del XXI secolo, Roma