ARC181 ARC annotated bibliography case study
Order ID 53563633773 Type Essay Writer Level Masters Style APA Sources/References 4 Perfect Number of Pages to Order 5-10 Pages Description/Paper Instructions
Winter 2020
ARC181
Guidelines for Annotated Bibliographies
Each student’s annotated bibliography must include entries (i.e., citations and notes) for all of the required readings listed in the schedule of classes in the course syllabus. It should also include entries for any readings—books, articles, websites, reference works—each student is doing for their additional or recommended reading.
The reason for this is that these notes will be useful to everyone in order to prepare for outlining and writing their papers; another added benefit is that I will be able to see clearly what you have and have not yet read in pursuing your project, and this will make it easier for me to make helpful suggestions for further research and reading.
You must submit your “in-progress” annotated bibliography to your teaching assistant by 5 February at 5pm to your teaching assistant via Quercus. Please keep in mind that these submitted bibliographies will not be formally graded. Instead, this submission will be an opportunity for the TAs to review your annotated bibliographies and prepare for the workshop in tutorial the following week. So please do not fret if you are missing an entry or three; this is less important than getting a chance to see how you are annotating the readings, and where you are at in terms of getting your research project moving.
Below are some excerpts from certain kinds of annotated bibliographies that may be useful to you as you begin to contemplate formalizing your note-taking process further over the course of the term.
EXAMPLE #1: Pulling and citing quotations by page number, along with notes in brackets.
John Vassos and Steward W. Pike, “Planning the Transmitter Building,” Broadcast News (March 1948): 46-49.
[NB: See also article on “mobile studio” in same issue!]
46: “The Radio Corporation of America inaugurated in 1938 a service of assisting broadcasters with their installations of transmitting equipment, not only from the aspect of the electronics involved, but also in the actual physical layout of all components that are necessary in operating such stations. The results of this service have been beneficial to the point where demands for this type of information have been so overwhelming that now for the first time RCA is offering their experience and thinking in the layout of typical transmitting stations in a complete line of buildings covering all the various types and sizes of transmitting equipment.”
AUs note special requirements of these “unique buildings…in remote locations”: apartment for the “executive-in-charge”; a shop for quick repairs; provision of space for transformers below or in in the transmitter control room.
47: argue that it is less expensive to have a well-appointed and planned installation.
“The suggested architectural facade is only made to give a starting point to the local architect who will eventually make the final plans in re-expressing the same form of element construction and perhaps give it local flavor.”
For all scales of station, 250-watt to “a giant television and FM transmitter station”
“Eventually all will be available in the form of an architectural brochure which makes provision for adding, from time to time, the various new developments as they are introduced.”
initiative run by “The Functional Design Section” of RCA.
“It is not surprising that the cosmopolitan response to this service has included, not only our Latin American neighbors, but it has reached the far corners of Asia, Middle East, and Europe and in many instances, the entire recommendations have been followed as well as the electronic specifications.”
Cmd. 6852, Broadcasting Policy, Presented by the Lord President of the Council and the Postmaster General to Parliament by Command of His Majesty, July 1946 (London: His Majesty’s Stationery Office, 1946).
Section A on “The British Broadcasting Corporation’s Charter”
- 3, para. 3: “The Sykes Committee [of 1923], in recommending a single broadcasting service [the BBC], had in mind not only the part which broadcasting would play in the life of the nation and in international relations, but also the need to use the limited number of wavelengths available for this purpose in the best interests of the community.”
- 3, para. 4: “The Crawford Committee…rejected the United States system of free and uncontrolled broadcasting as unsuited to this country and felt that no body constituted for profit could adequately perform the broader functions which were then beginning to emerge. On the other hand, it equally rejected the transfer of the service to the direct control and operation of the State, on the grounds that the State would lack the necessary freedom and flexibility to meet the varying demands of the public.” Thus the “public corporation to be known as the British Broadcasting Commission, acting as a Trustee for the national interest…invested with the maximum freedom which Parliament was prepared to concede.” to p. 4 the system of “Governors” as “persons of judgment and independence, who would inspire public confidence by having no other interests to promote than those of the public service.” Led to the charter for the BB Corporation 1926.
- 5 because of the confusion and rapid “warlike” technical advancements of the preceding seven years, a provisional extension of the charter for only five years.
- 6 Maintains the status quo of a single corporation possessing a monopoly on broadcasting rights, but also “welcomes this policy of regional devolution.”
[need to look at “the Postmaster General’s powers under the Telegraph and Wireless Telegraphy Acts 1863 to 1945”]
- 10, section B: “The International Problem of Wavelengths” makes reference to the International Telecommunication Convention Madrid 1932.
- 15, section 50 (under heading D.—The Overseas Services, I.—Services to the Empire), “At the outbreak of war, the Empire Service [EBS] became a world service, enabling listeners in all parts of the globe to hear frequent news bulletins and talks in English, giving the British point of view on current events. Later, to satisfy the needs of British and Allied troops overseas for news and entertainment, a General Overseas Service and General Forces Programme were introduced, broadcast throughout the twenty-four hours of the day.”
- 15, “Post-War Policy” para. 51. “The Government consider it essential that the Empire Services of the Corporation should be maintained and developed in co-operation with the Dominions, India, and the Colonies. The wavelengths available for these services should be used tot he greatest advantage and should be supplemented by the transmission of programmes over overseas telephone circuits for rebroadcasting locally, and by the export of programmes in the form of scripts and recorded material.”
- 17, “The Monitoring Service”, para. 57: “During the war this Service listened to 1¼ million words a day in thirty languages, extracted important news and intelligence material and made it available to the British and Allied Governments, to the Corporation for its own new programmes, and to the Press. With the restoration of communications iwth most parts of the world, the scope of the Monitoring Service has been considerably reduced, but it still provides a valuable means of obtaining news and information.” [Radio as a CONTROL MECHANISM]
Goes on to establish the permanent need for the “European Service” “in order to maintain British influence and prestige abroad” (still 17)
- 18, section E.—Television, para. 62: Selsdon Committee. Move to “high-definition” television service using Marconi-E.M.I. (405 lines) in February 1937. para. 63: “The Government accepted these recommendations and a regular public high-definition television service, the first in any country, was inaugurated in November, 1936, at the Corporation’s station at Alexandra Palace.”
- 18, para. 65 and after: “The Hankey Committee”
See Appendix 3 “Wire Broadcasting,” re: the “wire broadcasting system” that is still viewed at this point as an alternative or supplement to wireless.
EXAMPLE #2: Simple summaries.
McLuhan, Marshall. The Gutenberg Galaxy: The Making of Typographic Man. Toronto: University of Toronto Press, 1962.
This book seeks to generate an understanding of the changes in our modes of perception as society transitions from a typographic/mechanical age to the electronic age. It argues that the transition into the electronic age means the individual man has become the tribal/collective through the use of technology.
Pevsner, Nikolaus. Pioneers of the Modern Movement from William Morris to Walter Gropius. London: Faber & Faber, 1936).
The first chapter of this book discusses the development of the early modern period through the production of craft objects as it relates to the progress of machinery during the Industrial revolution. The main argument made relates to the role technology plays in the creation of art during the time of William Morris. Machinery allowed for the mass production of cheap articles and removes the ‘joy of the maker’. In short, the machine removed human agency from the production and manufacturing process and that one must become ‘masters of our machines’ instead. In this vein.
The second chapter of this book furthers the argument by exploring the period between The Great Exhibition of 1851 in London and the emergence of the Arts and Craft movement. Pevsner identified the ‘abominable aesthetic qualities’ of the products on display at the exhibition and attributed this to the disconnect between the craftsman’s skill and the production by a machine. He poses the following question, “Why did the machine in the end become so disastrous to art?”.
Barthes, Roland. “The Eiffel Tower.” In A Barthes Reader, edited by Susan Sontag, 236-250. New York: Hill and Wang, 1983.
Barthes essay discusses the role of the Eiffel Tower as it related to the concept of the gaze and the relationship between object and subject, the dialogue of seeing and being seen. Barthes argues that the construction of the Eiffel Tower empowers the people with the ability to see, objectifying the city of Paris.
Theodor W. Adorno and Max Horkheimer, “The Culture Industry: Enlightenment as Mass Deception.” In Dialectic of Enlightenment, translated by Edmund Jephcott, 94-136. Stanford: Stanford University Press, 2002.
This essay puts forward an argument that suggests the existence of what is called “The Culture Industry” created by mass media. The Culture Industry is used to describe the phenomenon where there is a full participation of the masses in the consumption of media and that culture itself operates as an unstoppable industrial machine. The participation of the masses in the Culture Industry in essence pulls people into a single agency creating conformity making ideologies insignificant as each participant is immersed into the same set of operations.
Levine, Neil. “The Public Library at the Dawn of the New Library Science: Henri Labrouste’s Two Major Works and their Typological Underpinnings.” In Henri Labrouste: Structure Brought to Light, edited by Barry Bergdoll, Corinne Belier, and Marc le Coeur. 164-179. New York: Museum of Modern Art, 2012.
The essay explores the origins of the library as a typology through the works of two buildings by Henri Labrouste. Levine argues that Labrouste’s designs responded to a changing social condition in which the library grew out of its elitist, aristocratic conditions, and further change resulted from an increasingly literate public. The pre-existing architectural typology of the library was concerned with the formal representation of books, rather than the physical act of reading. Labrouste responded in his design for the Bibliothèque Sainte-Geneviève by redefining the library as a new kind of public institution, a place for social interaction and the consumption of printed material.
Baker, Nicholas. Double Fold: Libraries and the Assault on Paper. New York: Random House, 2001.
This book explores the problem of preserving printed text and the misguided attempts to solve it. Baker identifies a trend where libraries around the world are unable to absorb the vast contents of printed material, especially periodicals such as newspaper print. In the face of this problem, libraries turned to the technology of microfilming to preserve both the contents of the material and physical space. Librarians regarded the microfilm as a panacea and swiftly produced microfilm copies of newspaper prints in their collections. In the opening chapters, Baker argues that librarians bought into this long-standing myth that newsprint quality deteriorates quickly and that the microfilm would prolong the ‘shelf life’ of the material. The result was an extensive purging of physical print material from library catalogues resulting in the destruction and privatization of the material as they ended up in the hands of collectors.
EXAMPLE #3: Summarizing and adding notes and queries.
William Dendy, William Kilbourn, Toronto Observed: Its Architecture, Patrons, and History (Toronto: Oxford University Press, 1986): 276-279
P277: Thanks to patronage of Phyllis Bronfman Lambert, Mies was chosen to design New York’s world famous Seagram Building (1954-8), which revolutionized corporate architecture in North America. Seagram’s Owners were the Montreal-based Bronfman family, who also controlled the Fairview Corporation (now Cadillac-Fairview), one of the largest property developer in North America.
Alex Bozikovic, “New TD Centre signage reflects a time when brands trump architectural vision,” in: The Globe and Mail (Sunday, Jul. 05, 2015 12:00PM EDT) [ general information ]
The complex has been expanded, and now it has new features: green-and-white signs of the TD Bank stuck on to two of its dark, ribbed facades. These stick-ons are legal, historically defensible – and wrong. In this place, where corporate Canada once made the grandest possible statement with architecture, they signal an unfortunate smallness of vision. [ I like it: “legal, historically defensible, and wrong ]
It was TD and Fairview Crop. (later Cadillac Fairview), then the development arm of the Bronfman family, which took the leap.
Cadillac Fairview, which is now wholly owned by the Ontario Teachers’ Pension Plan.
John Bentley Mays, “OFF THE WALL ‘The coffins’ leave them cold ARCHITECTURE The Toronto-Dominion Centre turns 25 next years, but this famous project, both powerful and poised, has never inspired love,” in: The Globe and Mail, (30 October 1991: C.1.) [ The only critique about TD Centre that I’ve red ]
[B+H Official site]
Client
Cadillac Fairview Corporation and Toronto-Dominion Bank
Collaboration
Architects – Toronto Dominion Bank Tower, Royal Trust Tower, Commercial Union Tower (now called Canadian Pacific Tower) and Banking Hall: Bregman + Hamann Architects and John B. Parkin Associates (in joint venture) Ludwig Mies van der Rohe – Design Consultant Architects – IBM Tower (now called TD Waterhouse Tower): Bregman + Hamann Architects Architects – Ernst & Young Tower: Bregman + Hamann Architects and Scott Associates (in joint venture)
[Cadillac Fairview Official site]
THE FAIRVIEW CORPORATION SHARES THE REAL ESTATE LIMELIGHT
In the early 1960’s, another company was busy building a reputation in the Canadian real estate industry. The Fairview Corporation was established as a division of Cemp Investments Ltd., the holding company for the Bronfman family, one of Canada’s most successful business dynasties. [Phyllis Lambert]
Fairview and the Toronto-Dominion Bank joined forces with the goal of building the largest office complex in the country. Mies van der Rohe, an internationally renowned architect, was chosen to design the landmark project, the Toronto-Dominion Centre. The original concept called for a 1 million square foot office tower, which eventually expanded to include multiple towers totaling over 4 million square feet.
Over the years, the principals from Cadillac and Fairview occasionally crossed paths when Cadillac built shopping centres for Fairview. In 1968 they joined forces to purchase Canadian Equity and Development Co., a firm which owned 80,000 acres outside of Toronto in an area known as Erin Mills. Cadillac was interested in Erin Mills because it offered a huge area to build houses. Fairview was interested because the community would need shopping centres. Although the land was initially purchased in 1954, the Erin Mills development was at a standstill because no municipal services had been installed. Conflicts arose over the development of Erin Mills as both Cadillac and Fairview began to expand their areas of operation, so the two companies sought a solution.
CADILLAC & FAIRVIEW MERGE
In the spring of 1974, two of the most dynamic forces in the Canadian real estate industry agreed to merge. A quick flip of a coin positioned the Cadillac name before Fairview, and a new real estate powerhouse was born. Cadillac Fairview continued its successful association with the Toronto-Dominion Bank, and along with a new partner, the T. Eaton Company, launched two other landmark projects: Vancouver’s Pacific Centre (opened in phases starting in 1971) and the Toronto Eaton Centre (opened in phases starting in 1977).
By the end of 1986, the Bronfman family agreed to sell their interest in Cadillac Fairview. [It means Phyllis Lambert hasn’t had role on the last piece which was built in 1991]
Christopher Hume, “When Mies’s towers scraped the sky,” in: Toronto Star, (Monday, May 28, 2007)
Though he is listed simply as a consultant, the man who designed the TD Centre, Ludwig Mies van der Rohe, ranks among the giants of 20th-century architecture. It was he as much as anyone who invented the building forms in which we live and work to this day.
Though work on the complex continued after his death in 1969, the concept had been laid out. Once the first three towers were completed – the last, Canadian Pacific, in ’74 – two more were added, TD Waterhouse (’85) and Ernst &Young (’91).
Winter 2020
UNDERGRADUATE COURSE OUTLINE
COURSE CODE: ARC181H1S L0101
COURSE TITLE: Technologies of Architecture, Landscape, Urbanism and Art I
CLASSROOM LOCATION: BT101
CLASS HOURS: Thursdays, 9am-11am + Assigned Tutorial
INSTRUCTOR NAME: John Harwood
INSTRUCTOR EMAIL: John.Harwood@daniels.utoronto.ca)
OFFICE HOURS: W 2-4pm, DA235 and R 11am-12pm, BT lobby
COURSE DESCRIPTION:
…ideas are not stockpiled in heaven to be contemplated by
philosophy…new ideas are constantly appearing in the heat
of theory’s battle against a raw, resistant world.
—Vilém Flusser
…a city is hardware, in all senses.
—Reinhold Martin
This course is intended to introduce undergraduate students to the history and theory of technics as it relates to all design disciplines. It is thematically organized; rather than pursue a progressive and historicist narrative of the development of ever-more sophisticated technologies and then chart those in the progression of architectural “styles,” the course will follow a method that describes all cultural artifacts—including, especially, architecture, landscape, urbanism, and art—as in and of themselves technical. They are the product of highly articulated techniques; they are always not simply things but also media; and, lastly, their continued significance depends entirely upon their repeated re-mediation.
The course is organized into four sections, each of which identify certain technical functions characteristic of design techniques: (re)producing (which includes planning, mapping, writing, copying, and mass producing); lifting (which includes building, ornamenting, mining, and harvesting), depicting (which includes all manner of representational techniques), and moving (which includes infrastructures, corporate formations, and machinery for reducing what economists call “transaction costs”).
Throughout the course, the central focus of the course will be on architecture; however, whenever appropriate, lectures and discussion sections will treat highly significant artifacts from the history of landscape, urbanism, art, and various industrial and infrastructural products that are not usually classed with the first four categories.
Course Objectives
By the conclusion of the course, students will have a broad familiarity with the main lines of technical development in the history of architecture, landscape, urbanism, and art, including the economic, philosophical and aesthetic concepts underpinning those developments. They will also possess rudimentary knowledge of technical and architectural historiography, be able to maintain a rigorously organized annotated bibliography of the assigned readings, and be capable of producing a clear précis of a complex text.
Assignments and Important Dates
In addition to completing all of the assigned readings for the course, attending lectures and discussion sections, there are two main assignments for the course: 1. an annotated bibliography of all assigned required readings (noted in the schedule of classes below and marked with an asterisk); and 2. two précis on any of two assigned or recommended readings listed in the schedule of classes below. More precise instructions on these assignments will be given in class, and guidelines for how to complete both assignments will be issued in the second week of class.
There will also be a midterm exam, administered during tutorial, which will be composed of multiple choice questions based upon the content of lectures and readings.
Attendance will be kept by the teaching assistants. Each student must sign in at each lecture and discussion section. Any more than two unexcused absences will result in a failing grade in the course. An excused absence is given only if the student notifies his or her assigned teaching assistant in advance of the course session to be missed, or if the student presents written evidence for her/his absence (e.g. from a medical professional, academic advisor, etc.).
A list of all sessional dates can be found at: https://www.daniels.utoronto.ca/current-students/graduate-students/academics-and-registration
For any and all discrepancies between the schedule of classes below and the dates listed on the website, please consider the website to be correct.
General Note on Evaluation
Evaluation will be carried out in accordance with the University Assessment and Grading Practices Policy. Please refer to the policy located on the governing council website: http://www.governingcouncil.utoronto.ca/Governing_Council/policies.htm#G
Evaluation
In addition to basic participation in the course (i.e., completing the assigned readings, attending class meetings, and contributing to class discussions), there are two primary assignments for the course, each of which is described in greater detail in an appendix to this course outline.
Fulfillment of the basic participation requirement counts for 25% of each student’s grade in the course.
The first assignment is an annotated bibliography, which is an organized bibliography accompanied by specific notes on the text. This should be maintained throughout the course of the semester, and will be evaluated on the following basis: 1. Does the annotated bibliography conform to the bibliographic standards laid out in The Chicago Manual of Style (15th or 16th ed.)? 2. Does the annotated bibliography contain notes for each required reading in the schedule of classes? No qualitative assessment of the notes will figure in the assessment of the grade. The annotated bibliography counts for 25% of each student’s grade in the course.
The second assignment is to produce, by the end of the term, two separate précis of two separate texts from the required or recommended reading for the course. The length of the précis depends somewhat upon the overall length of the text being summarized, but as a rule the précis should be no longer than three pages, double-spaced, 12 pt. font. Specific guidelines on précis writing will be distributed in the second week of the class, and both the professor and the teaching assistants will also devote class time to discussing how best to write an effective précis. The two précis count for 25% of each student’s grade in the course.
The midterm exam counts for 25% of each student’s grade in the course.
Late Work
All assignments are due in class or submitted via e-mail at the specified time and date. Late submission will result in a 10% deduction of each assignment’s total grade per business day (excluding weekends). In the case of illness or other special circumstance, notification should be given to the professor and the Registrar as soon as possible and before the deadline in question; where required, the official University of Toronto Verification of Student Illness or Injury form should be submitted.
Final Due Date
Students are not permitted to submit work past the 9 April 2018 deadline unless they have formally (i.e. in writing) requested and received special permission from the Daniels Faculty administration to do so. There is no guarantee that the professor will approve such a request.
Preparedness at UofT
Students are advised to consult the University’s preparedness site (http://www.preparedness.utoronto.ca) for information and regular updates regarding procedures for emergency planning.
ACCESSIBILITY NEEDS:
Accessibility Services provides academic accommodations in collaboration with students, staff and faculty to support students with documented disabilities in equal opportunities to achieve academic and co-curricular success. If you are a student who identifies with one or more of the broad categories below, we encourage you to register with Accessibility Services (http://www.accessibility.utoronto.ca/). For any questions or assistance, please see the staff in the Office of the Registrar and Student Services.
- Attention Deficit Hyperactivity Disorder (ADHD)
- Autism Spectrum Disorder
- Brain Injury and Concussion
- Chronic Health
- Deaf and Hard of Hearing
- Learning Disability
- Mental Health
- Mobility and Functional
- Low Vision / Legally Blind
- Temporary Injuries
Academic Integrity
Academic integrity is essential to the pursuit of learning and scholarship in a university, and to ensuring that a degree from the University of Toronto is a strong signal of each student’s individual academic achievement. As a result, the University treats cases of cheating and plagiarism very seriously. The University of Toronto’s Code of Behaviour on Academic Matters (www.governingcouncil.utoronto.ca/policies/behaveac.htm) outlines the behaviours that constitute academic dishonesty and the processes for addressing academic offences. Potential offences include, but are not limited to:
In papers and assignments:
- Using someone else’s ideas or words without appropriate acknowledgement.
- Submitting your own work in more than one course without the permission of the instructor.
- Making up sources or facts.
- Obtaining or providing unauthorized assistance on any assignment.
On tests and exams:
- Using or possessing unauthorized aids.
- Looking at someone else’s answers during an exam or test.
- Misrepresenting your identity.
In academic work:
- Falsifying institutional documents or grades.
- Falsifying or altering any documentation required by the University, including (but not limited to) doctor’s notes.
All suspected cases of academic dishonesty will be investigated following procedures outlined in the Code of Behaviour on Academic Matters. If you have questions or concerns about what constitutes appropriate academic behaviour or appropriate research and citation methods, you are expected to seek out additional information on academic integrity from your instructor or from other institutional resources (see www.utoronto.ca/academicintegrity/resourcesforstudents.html).
For accepted methods of standard documentation formats, including electronic citation of internet sources please see the U of T writing website at: http://www.writing.utoronto.ca/advice/using-sources/documentation.
ENGLISH LANGUAGE AND WRITING SUPPORT:
The University of Toronto expects its students to write well, and it provides a number of resources to help. Please consult the University of Toronto writing site (http://www.writing.utoronto.ca/) for advice and answers to your questions about writing. Please pay special attention to:
Advice on Writing: Academic Writing
Reading and Using Sources: How Not to Plagiarize
The University of Toronto’s Code of Behavior on Academic Matters states that:
“It shall be an offence for a student knowingly:
…
(d) to represent as one’s own any idea or expression of an idea or work of another in any academic examination or term test or in connection with any other form of academic work, i.e, to commit plagiarism.”
The Code also states: “Wherever in the Code an offence is described as depending on ‘knowing,’ the offence shall likewise be deemed to have been committed if the person ought reasonably to have known.”
For information about academic integrity at the University of Toronto, please see www.academicintegrity.utoronto.ca
The Writing Centre at the John H. Daniels Faculty of Architecture, Landscape, and Design (http://www.daniels.utoronto.ca/resources/writing-program) is a resource for Daniels students seeking assistance with academic writing through tutorials and individual consultations. During the summer, appointments are available only on Thursdays. Students may access the online appointment booking system at: https://awc.wdw.utoronto.ca
Housed in 63 St. George Street, within the School of Graduate Studies, English Language and Writing Support (ELWS) provides graduate students with advanced training in academic writing and speaking; see the SGS website at: http://www.sgs.utoronto.ca/english/. For advice on Academic Writing, see the website: http://www.writing.utoronto.ca/advice.
Daniels Faculty Writing Program, please contact writing@daniels.utoronto.ca.
The following resources may also be useful:
Sylvan Barnett, A Short Guide to Writing About Art. 5-7th edition (New York: Harper-Collins, 1997)
William Strunk Jr., E.B. White. The Elements of Style (New York: MacMillan Publishing)
The Chicago Manual of Style, 15th or 16th ed.
SCHEDULE OF CLASSES
[NB: Only readings marked with an asterisk (“*”) are required reading, and must be included in students’ annotated bibliographies. Additional, recommended readings are listed below the titles for each lecture or discussion section, and are not required for the annotated bibliography. That said, any student including more than ten recommended readings in an annotated bibliography may claim an extra credit bonus worth up to 5% on her/his final grade in the course.]
SECTION I: (RE)PRODUCING
WEEK 1: 9 January [NB: NO TUTORIAL DISCUSSION SECTIONS THIS WEEK]
Introductory Lecture: Technical Origins of Architecture, or Mimesis
* Vitruvius, Ten Books on Architecture, trans. Morris Hickey Morgan (New York: Dover, 1917), book I, chaps. 1-2.
* Leon Battista Alberti, The Ten Books of Architecture [The 1755 Leoni Edition] (New York: Dover, 1986), Preface and Book I, chaps. 1-2.
Joseph Rykwert, On Adam’s House in Paradise: The Idea of the Primitive Hut in Architectural History, 2nd ed. (Cambridge, MA: MIT Press, 1981), esp. chaps. 1, 4 and 5.
Abbé Marc-Antoine Laugier, An Essay on Architecture [1753, 1755], trans. Wolfgang and Anni Herrmann (Los Angeles: Hennessey & Ingalls, 1977), esp. “Introduction” and “General Principles of Architecture,” pp 7-14.
C.P. Snow, The Two Cultures [Rede Lecture, 1959], 2nd ed. (Cambridge, UK and New York: Cambridge University Press, 2008).
Thomas Pynchon, “Is it O.K. to be a Luddite?,” New York Times (28 October 1984), available at: http://www.nytimes.com/books/97/05/18/reviews/pynchon-luddite.html
Bernhard Siegert, “Introduction: Cultural Techniques, or, the End of the Intellectual Postwar in German Media Theory,” in: Siegert, Cultural Techniques: Grids, Filters, Doors, and Other Articulations of the Real, trans. Geoffrey Winthrop-Young (New York: Fordham University Press, 2015).
WEEK 2: 16 January
Lecture: Planning, Printing, and Copying
* Alan Colquhoun, “Rationalism: A Philosophical Concept in Architecture,” in: Colquhoun, Modernity and the Classical Tradition: Architectural Essays 1980-1987 (Cambridge, MA and London: MIT Press, 1989), 57-87.
* Mario Carpo, Architecture in the Age of Printing: Orality, Writing, Typography, and Printed Images in the History of Architectural Theory (Cambridge, MA: MIT Press, 2001), chap. 4 “Architectural Drawing in the Age of Its Mechanical Reproduction.”
Walter Benjamin, The Work of Art in the Age of its Technological Reproducibility, and Other Writings on Media (Cambridge, MA: Belknap Press of Harvard University Press, 2008).
Robin Evans, “Translations from Drawing to Building” [1986], in: Evans, Translations from Drawing to Building and Other Essays (Cambridge, MA: MIT Press, 1997), 153-194.
Tutorial Discussion: “Reading” Plans, Sections and Elevations
* Rendow Yee, Architectural Drawing: A Visual Compendium of Types and Methods, 2nd ed. (Hoboken, NJ: John Wiley & Sons, 2003), chap. 4, “Conventional Orthogonal Terminology.”
WEEK 3: 23 January
Lecture: On Architectural Writing: Architectural Theory (Treatises and Manifestos), Criticism, and History
* Andrew Leach, What is Architectural History? (Cambridge, Oxford and Boston: Polity, 2010), chap. 1.
* Hanno-Walter Kruft, A History of Architectural Theory from Vitruvius to the Present, trans. Ronald Taylor, Elsie Callander and Antony Wood (Princeton, NJ: Princeton Architectural Press, 1994), “Introduction: What is Architectural Theory?” pp. 13-19.
A.W.N. Pugin, Contrasts (Leicester, UK: Leicester University Press / New York: Humanities Press, 1969).
Ulrich Conrads, ed., Programs and Manifestoes on 20th-Century Architecture, trans. Michael Bullock (Cambridge, MA: MIT Press, 1971).
Charles Jencks and Karl Kropf, eds., Theories and Manifestoes of Contemporary Architecture, 2nd ed. (Chichester, UK and Hoboken, NJ: Wiley-Academy, 2006).
The Mark J. Millard Architectural Collection, 4 vols. (Washington, DC: National Gallery of Art; New York: George Braziller, 1993-2000).
Tutorial Discussion: Treatises and Manifestos
[NB: There is no specifically assigned reading for this class session; instead, students must find an example of an architectural treatise or manifesto from the Shore + Moffat Library and bring either the original or a copy to class to share with the discussion group. Further instructions will be given out in the second week of class.]
WEEK 4: 30 January
Lecture: Industrialization
* Lewis Mumford, Technics and Civilization (New York et al: Harcourt, Brace & Co., 1934), 9-31, 153-178.
Adam Smith, An Inquiry into the Nature and Causes of the Wealth of Nations [1776], available on-line via the University of Toronto Libraries website in numerous editions.
Joseph Vogl, The Specter of Capital, trans. Joachim Redner and Robert Savage (Stanford, CA: Stanford University Press, 2014), esp. chap. 5 “Economic and Social Reproduction.”
John Brewer, The Sinews of Power: War, Money, and the English State, 1688-1783 (New York: Routledge, 1989).
Tutorial Discussion: Toward Automation and Autonomy?
* Sigfried Giedion, Mechanization Takes Command: A Contribution to Anonymous History (New York & London: W.W. Norton & Co., 1975), Part III: “Means of Mechanization,” pp. 46-129.
Daniel Bell, The Coming of Post-Industrial Society: A Venture in Social Forecasting [1973] (New York: Basic Books, 1999), esp. chaps. 1-3.
Ernest Mandel, Late Capitalism [2nd ed., 1975] (New York and London: Verso, 1999).
David Harvey, The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change (Cambridge, MA: Blackwell, 1990).
SECTION II: LIFTING
WEEK 5: 6 February
Lecture: On Walls and Openings
* Gottfried Semper, The Four Elements of Architecture and Other Writings, trans. Harry Francis Mallgrave and Wolfgang Herrmann (Cambridge, UK et al: Cambridge University Press, 2011), “The Four Elements of Architecture” and “Science, Industry, and Art,” 74-167.
Robert Mark, ed., Architectural Technology up to the Scientific Revolution (Cambridge, MA: MIT Press, 1993).
Tutorial Discussion: The Styles, and Tectonics
* Kenneth Frampton, Studies in Tectonic Culture: The Poetics of Construction in Nineteenth and Twentieth Century Architecture (Cambridge, MA: 1995), “Introduction: Reflections on the Scope of the Tectonic,” pp. 1-28.
Harry Francis Mallgrave, “Introduction,” in: Gottfried Semper, Style in the Technical and Tectonic Arts; or, Practical Aesthetics [orig. pulb. in 2v., 1860, 1863], ed. Harry Francis Mallgrave (Santa Monica: Getty, 2004), 1-70.
Alois Riegl, Problems of Style, trans. Evelyn Kain (Princeton: Princeton University Press, 1993).
Meyer Schapiro, “Style,” in: A.L. Kroeber, ed., Anthropology Today (Chicago: University of Chicago Press, 1953).
Christopher S. Wood, “Introduction,” in: Wood, ed., The Vienna School Reader: Politics and Art Historical Method in the 1930s (New York: Zone Books, 2000).
WEEK 6: 13 February
Lecture: On the Intelligences of Materials, or Digging, Lifting and Shooting
* Georgius Agricola [Georg Bauer], De Re Metallica, trans. Herbert Clark Hoover and Lou Henry Hoover (New York: Dover, 1950), preface.
Matthew C. Hunter, Wicked Intelligence: Visual Art and the Science of Experiment in Restoration London (Chicago and London: University of Chicago Press, 2013).
Wolfgang Ernst, “Media Archaeography: Method and Machine versus History and Narrative of Media,” in: Erkki Huhtamo and Jussi Parikka, eds., Media Archaeology: Approaches, Applications, and Implications (Berkeley, Los Angeles and London: University of California Press, 2011), 239-255.
Bernhard Siegert, Relays: Literature as an Epoch of the Postal System, trans. Kevin Repp (Stanford, CA: Stanford University Press, 1999).
Tutorial Discussion: Annotated Bibliography Workshop
[NB: There is no assigned reading for this session; please bring a hard copy of your annotated bibliography in progress to submit to your teaching assistant.]
20 February
NO LECTURE; READING WEEK
WEEK 7: 27 February
Lecture: On Tensions and Systems, from Iron Skeletons to Wetware
* Barry Bergdoll, European Architecture 1750-1890 (Oxford and New York: Oxford University Press, 2000), chap. 7 “New Technology and Architectural Form, 1851-90.”
Carl Condit, American Building Art, Vol I: The Nineteenth Century (New York: Oxford University Press, 1960), chap. 2 “Iron Framing” and chap. 4 “The Iron Bridge Truss,” pp. 25-74, 103-162.
Marshall McLuhan, Understanding Media: The Extensions of Man (New York: McGraw-Hill, 1964).
Konrad Wachsmann, The Turning Point in Building: Structure and Design (New York: Reinhold, 1961).
Jesse Reiser, Atlas of Novel Tectonics (New York: Princeton Architectural Press, 2006).
Alexander Galloway, Protocol: How Control Exists after Decentralization (Cambridge, MA: MIT Press, 2004).
Ludwig von Bertalanffy, General Systems Theory: Foundations, Development, Applications, 2nd ed. (New York: George Braziller, 1968).
Norbert Wiener, The Human Use of Human Beings: Cybernetics and Society, 2nd ed. (New York: Doubleday, 1954).
Tutorial Discussion: MIDTERM EXAM (NB: see description and rules in separate document posted on Quercus)
WEEK 8: 5 March
Lecture: On Environments and Ecologies
* Reyner Banham, “A Home is not a House,” Art in America (April 1965), pp. 109-118, repbul. with an introduction in: Joan Ockman and Edward Eigen, eds., Architecture Culture 1943-1968 (New York: Columbia GSAPP / Rizzoli, 1993), pp. 370-378.
* Reyner Banham, The Architecture of the Well-Tempered Environment, 2nd ed. (Chicago: University of Chicago Press / London: The Architectural Press, 1984), 18-70.
Georges Canguilhem, “The Living and Its Milieu,” Grey Room 3 (Spring 2001): 7-31.
Gottfried Wilhelm Freiherr von Leibniz, “Monadology” [1714], in: Leibniz, Philosophical Writings, ed. G.H.R. Parkinson, trans. Marry Morris and G.H.R. Parkinson (London and Toronto: J.M. Dent & Sons, Ltd., 1973), pp. 179-194.
John Locke, An Essay Concerning Human Understanding, ed., Kenneth Winkler (Indianapolis and Cambridge: Hackett, 1996), pp. 33-46, 56-60, 69-78, 84-89.
Michel Foucault, The Order of Things: An Archaeology of the Human Sciences (New York: Vintage, 1973), esp. preface.
Leo Marx, The Machine in the Garden: Technology and the Pastoral Idea in America [1964] (New York: Oxford University Press, 2000).
Reinhold Martin, “Environment, ca. 1973,” Grey Room 14 (Winter 2004): 78-101.
Tutorial Discussion: Spaceship Earth
* Ian McHarg, Design with Nature (Garden City, NY: Natural History Press, 1969; reprinted New York: John Wiley & Sons, 1992), “Introduction,” “City and Countryside,” “The Plight,” “The Cast and the Capsule,” x-6, 19-30, 43-54. [NB: The rest of the book is highly recommended!]
Richard Buckminster Fuller, Operating Manual for Spaceship Earth [1968] (Zürich: Lars Müller, 2008).
Mark Wigley, Buckminster Fuller Inc.: Architecture in the Age of Radio (Zürich: Lars Müller, 2015).
SECTION III: DEPICTING
WEEK 9: 12 March
Lecture: Euclidean Geometry and the Exploitation of Orthographic and Perspectival Representational Systems
* Leon Battista Alberti, On Painting, trans. John R. Spencer (New Haven and London: Yale University Press, 1966), orig. text only.
Noam Elcott, Artificial Darkness: An Obscure History of Media and Modern Art (Chicago and London: University of Chicago Press, 2016).
Reinhold Martin, “On Numbers, More or Less,” in: Matthew Poole and Manuel Shvartzerg, eds., The Politics of Parametricism: Digital Technologies in Architecture (London and New York: Bloomsbury Academic, 2015), chap. 2.
Tutorial Discussion: Perpectives and Truth
* Erwin Panofsky, Perspective as Symbolic Form, trans. Christopher S. Wood (New York: Zone Books, 1993), 27-72.
Hubert Damisch, The Origin of Perspective, trans. John Goodman (Cambridge, MA: MIT Press, 1995).
WEEK 10: 19 March
Lecture: The Orders, Ancient and Modern
* Claude Perrault, Ordonnance for the Five Kinds of Columns after the Method of the Ancient, trans. Indra Kagis McEwen (Santa Monica, CA: Getty, 1993), original Perrault text only (avoid the introduction!).
Joseph Rykwert, The Dancing Column: On Order in Architecture (Cambridge, MA: MIT Press, 1996).
Peter Blake, Form Follows Fiasco: Why Modern Architecture Hasn’t Worked (Boston: Little, Brown, 1977).
Nader Vossoughian, “Standardization Reconsidered: Normierung in and after Ernst Neufert’s Bauentwurfslehre (1936),” Grey Room 54 (Winter 2014): 34-55.
Tutorial Discussion: Measuring
* Anthony Gerbino & Stephen Johnson, Compass & Rule: Architecture as Mathematical Practice in England (New Haven and London: Yale University Press, 2009), chaps. 1-4.
SECTION IV: MOVING
WEEK 11: 26 March
Lecture: On Roads and Routes, Cities and Hinterlands
* J.P.M. Pannell, Man the Builder: An Illustrated History of Engineering (New York: Crescent Books, 1964), chap. 1 “Roads.”
* Robert S. Lopez, “The Crossroads Within the Wall,” in: Oscar Handlin and John Burchard, eds., The Historian and the City (Cambridge, MA: MIT Press and Harvard University Press, 1963), 27-43.
Carl E. Schorske, “The Idea of the City in European Thought: Voltaire to Spengler,” in: ibid. 95-114.
Walter Christaller, Central Places in Southern Germany, trans. Carlisle W. Baskin (Englewood Cliffs, NJ: Prentice-Hall, 1966).
Tutorial Discussion: Cultural Exchange, Cultural Appropriation
* Fernand Braudel, Civilization & Capitalism, 15th-18th Century, Volume 3: The Perspective of the World [1979], trans. Siân Reynolds (Berkeley and Los Angeles: University of California Press, 1992), selections.
Vilém Flusser, “The Gesture of Making,” in: Flusser, Gestures, trans. Nancy Ann Roth (Minneapolis and London: University of Minnesota Press, 2014), 32-47.
WEEK 12: 2 April
Lecture: On the Corporate Form, and Lodging and Living in a Logistical World
* Hayden White, The Content of the Form: Narrative Discourse and Historical Representation (Baltimore: Johns Hopkins University Press, 1987), chap. 1 “The Value of Narrativity in the Representation of Reality.”
* Jesse LeCavalier, The Rule of Logistics: Walmart and the Architecture of Fulfillment (Minneapolis and London: University of Minnesota Press, 2016), chap. 1 “Logistics: The First with the Most.”
Ronald H. Coase, “The Nature of the Firm (1937),” in: Coase, The Nature of the Firm: Origins, Evolution, and Development, ed. Oliver E. Williamson and Sidney G. Winter (New York: Oxford University Press, 1993).
Orit Halpern, Beautiful Data: A History of Vision and Reason since 1945 (Durham, NC: Duke University Press, 2014).
John Harwood, The Interface: IBM and the Transformation of Corporate Design, 1945-1976 (Minneapolis and London: University of Minnesota Press, 2011).
Peter Galison, Einstein’s Clocks, Poincaré’s Maps: Empires of Time (New York and London: W.W. Norton & Co., 2003), esp. chap. 3 “The Electric Worldmap.”
Vanessa Ogle, The Global Transformation of Time: 1870-1950 (Cambridge, MA and London: Harvard University Press, 2015).
Tutorial Discussion: Bartlebies?
* Herman Melville, “Bartleby, the Scrivener: A Story of Wall Street,” Putnam’s Magazine (November and December 1853), available at: http://ebooks.library.cornell.edu/cgi/t/text/pageviewer-idx?c=putn;cc=putn;rgn=full%20text;idno=putn0002-5;didno=putn0002-5;view=image;seq=0554;node=putn0002-5%3A15 and http://ebooks.library.cornell.edu/cgi/t/text/pageviewer-idx?c=putn;cc=putn;rgn=full%20text;idno=putn0002-6;didno=putn0002-6;view=image;seq=0617;node=putn0002-6%3A3
9 APRIL: ANNOTATED BIBLIOGRAPHY AND TWO PRÉCIS DUE. [NB: They may be submitted earlier! Please submit all work to your assigned teaching assistant via Quercus.]
RUBRIC
QUALITY OF RESPONSE NO RESPONSE POOR / UNSATISFACTORY SATISFACTORY GOOD EXCELLENT Content (worth a maximum of 50% of the total points) Zero points: Student failed to submit the final paper. 20 points out of 50: The essay illustrates poor understanding of the relevant material by failing to address or incorrectly addressing the relevant content; failing to identify or inaccurately explaining/defining key concepts/ideas; ignoring or incorrectly explaining key points/claims and the reasoning behind them; and/or incorrectly or inappropriately using terminology; and elements of the response are lacking. 30 points out of 50: The essay illustrates a rudimentary understanding of the relevant material by mentioning but not full explaining the relevant content; identifying some of the key concepts/ideas though failing to fully or accurately explain many of them; using terminology, though sometimes inaccurately or inappropriately; and/or incorporating some key claims/points but failing to explain the reasoning behind them or doing so inaccurately. Elements of the required response may also be lacking. 40 points out of 50: The essay illustrates solid understanding of the relevant material by correctly addressing most of the relevant content; identifying and explaining most of the key concepts/ideas; using correct terminology; explaining the reasoning behind most of the key points/claims; and/or where necessary or useful, substantiating some points with accurate examples. The answer is complete. 50 points: The essay illustrates exemplary understanding of the relevant material by thoroughly and correctly addressing the relevant content; identifying and explaining all of the key concepts/ideas; using correct terminology explaining the reasoning behind key points/claims and substantiating, as necessary/useful, points with several accurate and illuminating examples. No aspects of the required answer are missing. Use of Sources (worth a maximum of 20% of the total points). Zero points: Student failed to include citations and/or references. Or the student failed to submit a final paper. 5 out 20 points: Sources are seldom cited to support statements and/or format of citations are not recognizable as APA 6th Edition format. There are major errors in the formation of the references and citations. And/or there is a major reliance on highly questionable. The Student fails to provide an adequate synthesis of research collected for the paper. 10 out 20 points: References to scholarly sources are occasionally given; many statements seem unsubstantiated. Frequent errors in APA 6th Edition format, leaving the reader confused about the source of the information. There are significant errors of the formation in the references and citations. And/or there is a significant use of highly questionable sources. 15 out 20 points: Credible Scholarly sources are used effectively support claims and are, for the most part, clear and fairly represented. APA 6th Edition is used with only a few minor errors. There are minor errors in reference and/or citations. And/or there is some use of questionable sources. 20 points: Credible scholarly sources are used to give compelling evidence to support claims and are clearly and fairly represented. APA 6th Edition format is used accurately and consistently. The student uses above the maximum required references in the development of the assignment. Grammar (worth maximum of 20% of total points) Zero points: Student failed to submit the final paper. 5 points out of 20: The paper does not communicate ideas/points clearly due to inappropriate use of terminology and vague language; thoughts and sentences are disjointed or incomprehensible; organization lacking; and/or numerous grammatical, spelling/punctuation errors 10 points out 20: The paper is often unclear and difficult to follow due to some inappropriate terminology and/or vague language; ideas may be fragmented, wandering and/or repetitive; poor organization; and/or some grammatical, spelling, punctuation errors 15 points out of 20: The paper is mostly clear as a result of appropriate use of terminology and minimal vagueness; no tangents and no repetition; fairly good organization; almost perfect grammar, spelling, punctuation, and word usage. 20 points: The paper is clear, concise, and a pleasure to read as a result of appropriate and precise use of terminology; total coherence of thoughts and presentation and logical organization; and the essay is error free. Structure of the Paper (worth 10% of total points) Zero points: Student failed to submit the final paper. 3 points out of 10: Student needs to develop better formatting skills. The paper omits significant structural elements required for and APA 6th edition paper. Formatting of the paper has major flaws. The paper does not conform to APA 6th edition requirements whatsoever. 5 points out of 10: Appearance of final paper demonstrates the student’s limited ability to format the paper. There are significant errors in formatting and/or the total omission of major components of an APA 6th edition paper. They can include the omission of the cover page, abstract, and page numbers. Additionally the page has major formatting issues with spacing or paragraph formation. Font size might not conform to size requirements. The student also significantly writes too large or too short of and paper 7 points out of 10: Research paper presents an above-average use of formatting skills. The paper has slight errors within the paper. This can include small errors or omissions with the cover page, abstract, page number, and headers. There could be also slight formatting issues with the document spacing or the font Additionally the paper might slightly exceed or undershoot the specific number of required written pages for the assignment. 10 points: Student provides a high-caliber, formatted paper. This includes an APA 6th edition cover page, abstract, page number, headers and is double spaced in 12’ Times Roman Font. Additionally, the paper conforms to the specific number of required written pages and neither goes over or under the specified length of the paper. GET THIS PROJECT NOW BY CLICKING ON THIS LINK TO PLACE THE ORDER
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