Study-unit HISTORY OF ARCHITECTURE 2
| Course name | Building engineering and architecture |
|---|---|
| Study-unit Code | GP003197 |
| Curriculum | Comune a tutti i curricula |
| Lecturer | Francesca Funis |
| Lecturers |
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| Hours |
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| CFU | 9 |
| Course Regulation | Coorte 2021 |
| Supplied | 2022/23 |
| Supplied other course regulation | |
| Learning activities | Base |
| Area | Discipline storiche per l'architettura |
| Sector | ICAR/18 |
| Type of study-unit | Obbligatorio (Required) |
| Type of learning activities | Attività formativa monodisciplinare |
| Language of instruction | Italian |
| Contents | The course will address the use of classical architecture as an architectural language in the History of Architecture. The course will cover major architectural and urban episodes placed in different periods, with the following periodization: architectural order and its components; Romanesque architecture; Gothic architecture; Renaissance architecture; Baroque architecture; Neoclassicism; Industrialization and Modernisms; Chicago School; Vienna Secession; Art Nouveau and Catalan Modernism. |
| Reference texts | Handbooks: - Autori Vari, Lineamenti di storia dell'architettura, Armando Edizioni, 2019 (or Roma, Sovera Edizioni, 2018 o precedenti). - W. Curtis, L'architettura moderna dal 1900, Phaidon, 2006. At the end of the course, the Professor will supply students with PDfs of articles, essays and texts on the topics addressed. This material will be available on Unistudium with access key. |
| Educational objectives | The course provides cognitive support and the necessary critical tools for interpreting architecture from Romanesque period and the early twentieth century. Students must master the fundamental competences of history of architecture, namely periodization; nomenclature; founding elements; construction techniques; the building site; materials; compositional themes; architectural typologies; design and historical survey; representation of architecture; the commissioner's role and the relationship with the figurative arts; the project and its capacity to change the environment, the city and the territory over time. |
| Prerequisites | Knowledge of the topics treated in the History of Architecture course 1. In addition, the student should possess basic historical and cultural knowledge related to the historical periods covered. |
| Teaching methods | Ex-cathedra lectures, thematic and seminar insights, study visits. |
| Other information | The history of architecture embraces a series of exemplars that effectively document its phenomenological, symbolic and social value. Visiting these exemplars is essential when taking this subject, since it enables students to study first-hand the physical features of the buildings and their spatial and material characteristics. Hence visiting the works under study in situ is recommended to gain a more complete knowledge of them. Florence: Baptistery; Santa Maria del Fiore, church, dome, bell tower; San Miniato al Monte; Palazzo Vecchio and Uffizi; Santa Croce, Pazzi Chapel; Santa Maria Novella (façade); Piazza della Santissima Annunziata; Palazzo Medici Riccardi; San Lorenzo, church, Old Sacristy, Laurentian Library, Medici Chapels; Palazzo (façade) and Rucellai Loggia; Santo Spirito, church and sacristy; Pitti Palace and Boboli Gardens. Rome: Tempietto of St. Peter in Montorio; Capitoline Square; St. Peter's, basilica, canopy, piazza; Fountain of the Four Rivers in Piazza Navona; Cornaro Chapel in Santa Maria della Vittoria; Scala Regia in the Vatican; Gallery of Palazzo Capodiferro-Spada; Church and convent of San Carlo alle Quattro Fontane; church of Sant'Agnese in Agone; Sant'Ivo alla Sapienza. |
| Learning verification modality | Oral exam on the entire program, from Romanesque architecture to Modernisms (Art Nouveau, Catalan Modernism and the Vienna Secession). Each student (if she/he wants) can provide the necessary iconographic material on a pc, tablet or paper. To pass the final exam students must show that they have achieved the objectives of the course. In particular, they must possess an in-depth knowledge (including the chronology, commissioner, design process, distributive and structural characteristics, materials, spatial and formal aspects) of the following works: 1. S. Foy, Conques 2. St. Martin's, Tours 3. S. Sernin, Toulouse 4. Cathedral of Santiago de Compostela 5. Cluny III, abbey church 6. Milan, Sant'Ambrogio 7. Venice, San Marco 8. Modena, Cathedral 9. Pisa, cathedral and leaning tower 10. Florence, Baptistery 11. Florence, San Miniato al Monte 12. Assisi, San Rufino (Cathedral) 13. Spoleto, Cathedral of Santa Maria Assunta 14. Todi, co-cathedral of the Santissima Annunziata 15. Saint-Denis, choir 16. Sens, cathedral of Saint Etienne 17. Noyon, cathedral of Nôtre Dame 18. Laon, Cathedral 19. Paris, cathedral of Nôtre Dame 20. Chartres, Cathedral of Nôtre Dame 21. Reims, Cathedral 22. Amiens, Cathedral 23. Bourges, Saint-Étienne Cathedral 24. Abbey of Casamari, Veroli 25. Abbey of Fossanova, Priverno 26. Santa Maria Novella, Florence 27. Todi, San Fortunato 28. Assisi, basilica of San Francesco 29. Santa Croce, Florence 30. Siena, cathedral 31. Orvieto, cathedral 32. Florence, cathedral 33. Hospital of the Innocents 34. Church of San Lorenzo and Old Sacristy 35. Pazzi Chapel 36. Church of Santo Spirito (and sacristy) 37. Cupola, Tribune Morte and Lanterna of Santa Maria del Fiore 38. The Malatesta Temple in Rimini 39. Palazzo Rucellai, Sacello and front of Santa Maria Novella 40. San Sebastiano and Sant'Andrea in Mantua 41. The city in the fifteenth century: Pienza 42. The city in the fifteenth century: Urbino 43. The city in the fifteenth century: Ferrara 44. The birth of the palace in the fifteenth century: Palazzo Medici on Via Larga 45. Santa Maria presso San Satiro 46. Santa Maria delle Grazie. 47. Saint Ambrose (cloisters and rectory) 48. Cloister of Santa Maria della Pace 49. San Pietro in Montorio 50. Courtyard of the Belvedere and Snail Staircase 51. New Sacristy 52. Laurentian Medicean Library 53. Capitol Square 54. Uffizi, Palazzo Vecchio and Vasari Corridor 55. St. Peter's Basilica (from the Constantinian era to Carlo Maderno) 56. Baldachin of St. Peter's 57. St. Peter's Square 58. Fountain of the Four Rivers in Piazza Navona 59. Cornaro Chapel at Santa Maria della Vittoria 60. The affair of the bell towers of St. Peter's 61. Scala Regia in the Vatican 62. Gallery of the Capodiferro-Spada palace. 63. Church and convent of San Carlo alle Quattro Fontane 64. Church of Sant'Agnese in Agone 65. Sant'Ivo alla Sapienza 66. Neoclassical architecture 67. Joseph Paxton, Crystal Palace 68. Gustave Eiffel, Eiffel Tower. 69. Henry Labrouste, Bibliothèque de Sainte-Geneviève 70. Thomas Deane, Benjamin Woodward, Oxford Museum 71. William Le Baron Jenney, First Leiter Building, Chicago 72. William Le Baron Jenney, Fair Store, Chicago 73. Henry Hobson Richardson, Marshall Field Store, Chicago. 74. Louis Sullivan, Dankmar Adler, Auditorium, Chicago 75. John Wellborn Root, Daniel Burnham, Monadnock Building, Chicago. 76. Daniel Burnham, Charles Bowler Atwood, John Wellborn Root, Reliance Building, Chicago 77. Louis Sullivan, Dankmar Adler, Wainwright Building, St. Louis. 78. Louis Sullivan, Dankmar Adler, Guaranty Building, Buffalo. 79. Joseph Maria Olbrich, Secession Building. 80. Otto Wagner, Majolikahaus on the Linke Wienzeile-Vienna 81. Josef Hoffmann, palace for Adolphe Stoclet 82. Villa Müller, Prague 83. Victor Horta, hôtels particuliers, Tassel-Brussels 84. Victor Horta, Maison du Peuple, Brussels 85. Hector Guimard, Maison Coilliot 86. Hector Guimard, Paris Métro Stations. 87. Antoni Gaudí, Casa Batlló, Barcelona 88. Antoni Gaudí, for Eusebi Güell (Güell Pavilions, Güell Palace, Güell Park, Güell Cellars, Crypt of Colonia Güell and Colonia Güell) 89. Antoni Gaudí, Güell Park, Barcelona 90. Antoni Gaudí, Casa Milà (la Pedrera), Barcelona 91. Antoni Gaudí, Sagrada Familia, Barcelona |
| Extended program | Course content The course will address the use of classical architecture as an architectural language in the History of Architecture. The course will cover major architectural and urban episodes placed in different periods, with the following periodization: architectural order and its components; Romanesque architecture; Gothic architecture; Renaissance architecture; Baroque architecture; Neoclassicism; Industrialization and Modernisms; Chicago School; Vienna Secession; Art Nouveau and Catalan Modernism. Reference texts At the end of the course, the Professor will supply students with PDfs of articles, essays and texts on the topics addressed. This material will be available on Unistudium with access key. Handbooks: - Autori Vari, Lineamenti di storia dell'architettura, Armando Edizioni, 2019 (oppure Roma, Sovera Edizioni, 2018 o precedenti). - W. Curtis, L'architettura moderna dal 1900, Phaidon, 2006. Learning objectives The course provides cognitive support and the necessary critical tools for interpreting architecture from Romanesque period and the early twentieth century. Students must master the fundamental competences of history of architecture, namely periodization; nomenclature; founding elements; construction techniques; the building site; materials; compositional themes; architectural typologies; design and historical survey; representation of architecture; the commissioner's role and the relationship with the figurative arts; the project and its capacity to change the environment, the city and the territory over time. Prerequisites Knowledge of the topics treated in the History of Architecture course 1. In addition, the student should possess basic historical and cultural knowledge related to the historical periods covered. Teaching methods Ex-cathedra lectures, thematic and seminar insights, study visits. Further information The history of architecture embraces a series of exemplars that effectively document its phenomenological, symbolic and social value. Visiting these exemplars is essential when taking this subject, since it enables students to study first-hand the physical features of the buildings and their spatial and material characteristics. Hence visiting the works under study in situ is recommended to gain a more complete knowledge of them. Florence: Baptistery; Santa Maria del Fiore, church, dome, bell tower; San Miniato al Monte; Palazzo Vecchio and Uffizi; Santa Croce, Pazzi Chapel; Santa Maria Novella (façade); Piazza della Santissima Annunziata; Palazzo Medici Riccardi; San Lorenzo, church, Old Sacristy, Laurentian Library, Medici Chapels; Palazzo (façade) and Rucellai Loggia; Santo Spirito, church and sacristy; Pitti Palace and Boboli Gardens. Rome: Tempietto of St. Peter in Montorio; Capitoline Square; St. Peter's, basilica, canopy, piazza; Fountain of the Four Rivers in Piazza Navona; Cornaro Chapel in Santa Maria della Vittoria; Scala Regia in the Vatican; Gallery of Palazzo Capodiferro-Spada; Church and convent of San Carlo alle Quattro Fontane; church of Sant'Agnese in Agone; Sant'Ivo alla Sapienza. Assessment methods Oral exam on the entire program, from Romanesque architecture to Modernisms (Art Nouveau, Catalan Modernism and the Vienna Secession). Each student (if she/he wants) can provide the necessary iconographic material on a pc, tablet or paper. To pass the final exam students must show that they have achieved the objectives of the course. In particular, they must possess an in-depth knowledge (including the chronology, commissioner, design process, distributive and structural characteristics, materials, spatial and formal aspects) of the following works: 1. S. Foy, Conques 2. St. Martin's, Tours 3. S. Sernin, Toulouse 4. Cathedral of Santiago de Compostela 5. Cluny III, abbey church 6. Milan, Sant'Ambrogio 7. Venice, San Marco 8. Modena, Cathedral 9. Pisa, cathedral and leaning tower 10. Florence, Baptistery 11. Florence, San Miniato al Monte 12. Assisi, San Rufino (Cathedral) 13. Spoleto, Cathedral of Santa Maria Assunta 14. Todi, co-cathedral of the Santissima Annunziata 15. Saint-Denis, choir 16. Sens, cathedral of Saint Etienne 17. Noyon, cathedral of Nôtre Dame 18. Laon, Cathedral 19. Paris, cathedral of Nôtre Dame 20. Chartres, Cathedral of Nôtre Dame 21. Reims, Cathedral 22. Amiens, Cathedral 23. Bourges, Saint-Étienne Cathedral 24. Abbey of Casamari, Veroli 25. Abbey of Fossanova, Priverno 26. Santa Maria Novella, Florence 27. Todi, San Fortunato 28. Assisi, basilica of San Francesco 29. Santa Croce, Florence 30. Siena, cathedral 31. Orvieto, cathedral 32. Florence, cathedral 33. Hospital of the Innocents 34. Church of San Lorenzo and Old Sacristy 35. Pazzi Chapel 36. Church of Santo Spirito (and sacristy) 37. Cupola, Tribune Morte and Lanterna of Santa Maria del Fiore 38. The Malatesta Temple in Rimini 39. Palazzo Rucellai, Sacello and front of Santa Maria Novella 40. San Sebastiano and Sant'Andrea in Mantua 41. The city in the fifteenth century: Pienza 42. The city in the fifteenth century: Urbino 43. The city in the fifteenth century: Ferrara 44. The birth of the palace in the fifteenth century: Palazzo Medici on Via Larga 45. Santa Maria presso San Satiro 46. Santa Maria delle Grazie. 47. Saint Ambrose (cloisters and rectory) 48. Cloister of Santa Maria della Pace 49. San Pietro in Montorio 50. Courtyard of the Belvedere and Snail Staircase 51. New Sacristy 52. Laurentian Medicean Library 53. Capitol Square 54. Uffizi, Palazzo Vecchio and Vasari Corridor 55. St. Peter's Basilica (from the Constantinian era to Carlo Maderno) 56. Baldachin of St. Peter's 57. St. Peter's Square 58. Fountain of the Four Rivers in Piazza Navona 59. Cornaro Chapel at Santa Maria della Vittoria 60. The affair of the bell towers of St. Peter's 61. Scala Regia in the Vatican 62. Gallery of the Capodiferro-Spada palace. 63. Church and convent of San Carlo alle Quattro Fontane 64. Church of Sant'Agnese in Agone 65. Sant'Ivo alla Sapienza 66. Neoclassical architecture 67. Joseph Paxton, Crystal Palace 68. Gustave Eiffel, Eiffel Tower. 69. Henry Labrouste, Bibliothèque de Sainte-Geneviève 70. Thomas Deane, Benjamin Woodward, Oxford Museum 71. William Le Baron Jenney, First Leiter Building, Chicago 72. William Le Baron Jenney, Fair Store, Chicago 73. Henry Hobson Richardson, Marshall Field Store, Chicago. 74. Louis Sullivan, Dankmar Adler, Auditorium, Chicago 75. John Wellborn Root, Daniel Burnham, Monadnock Building, Chicago. 76. Daniel Burnham, Charles Bowler Atwood, John Wellborn Root, Reliance Building, Chicago 77. Louis Sullivan, Dankmar Adler, Wainwright Building, St. Louis. 78. Louis Sullivan, Dankmar Adler, Guaranty Building, Buffalo. 79. Joseph Maria Olbrich, Secession Building. 80. Otto Wagner, Majolikahaus on the Linke Wienzeile-Vienna 81. Josef Hoffmann, palace for Adolphe Stoclet 82. Villa Müller, Prague 83. Victor Horta, hôtels particuliers, Tassel-Brussels 84. Victor Horta, Maison du Peuple, Brussels 85. Hector Guimard, Maison Coilliot 86. Hector Guimard, Paris Métro Stations. 87. Antoni Gaudí, Casa Batlló, Barcelona 88. Antoni Gaudí, for Eusebi Güell (Güell Pavilions, Güell Palace, Güell Park, Güell Cellars, Crypt of Colonia Güell and Colonia Güell) 89. Antoni Gaudí, Güell Park, Barcelona 90. Antoni Gaudí, Casa Milà (la Pedrera), Barcelona 91. Antoni Gaudí, Sagrada Familia, Barcelona |