(Offered as EUST 216, ARCH 216, and ARHA 216.) In this intermediate architectural design studio we will explore the intellectual and creative process of making and representing architectural space. The focus will be to explore the boundaries of architecture--physically and theoretically, historically and presently--through digital media. Our process will prompt us to dissect 20th-century European architectures and urban spaces and to explore their relationships to contemporary, global issues. The capstone of the course will be a significant design project (TBD) requiring rigorous studio practices, resulting in plans, sections, elevations and digital models. This course will introduce students to various digital diagramming, drawing, and modeling software, while challenging students to question the theoretical and practical implications of these interdisciplinary media processes. This course will combine lectures, reading, discussion, and extensive studio design.
Requisite: ARHA 111. Admission with consent of the instructor. Limited to 10 students. Spring semester. Professor Long.2017-18: Offered in Spring 2018
Offered as ASLC 220 [J] and ARCH 220.) Tokyo is the political, cultural, and economic center of Japan, the largest urban conglomeration on the planet, holding 35 million people, fully one fifth of Japan’s population. Since its founding 400 years ago, when a small fishing village became Edo, the castle headquarters of the Tokugawa shoguns, the city has been reinvented multiple times—as the birthplace of Japan’s early modern urban bourgeois culture, imperial capital to a nation-state, center of modern consumer culture, postwar democratic exemplar, and postmodern metropolis. The course will focus on the portrayals of Tokyo and its reinventions in art, literature, and politics from the end of the Edo period to the present day. It will examine the changes that took place as the city modernized and Westernized in the Meiji era, became the center of modern urban life in Japan before the Second World War, and rebuilt itself as part of the country’s economic miracle in the postwar era. As the largest human cultural creation in Japan, one that endured political upheavals, fires, earthquakes, fire-bombings and unbridled development, Tokyo has always been a complex subject. The course will use that complexity to consider how to analyze an urban environment that draws upon Japan's long history, yet which is also one of the most modern in Asia.
Preference to majors and students with an interest in urban studies. Limited to 25 students. Fall semester. Professors Morse and Van Compernolle.2017-18: Not offered
(Offered as HIST 242 [USP], ARCH 242, and AHRA 133) Using architecture, artifacts, visual evidence and documentary sources, the course examines social and cultural forces affecting the design and use of domestic architecture, home furnishings, and domestic technology in the eastern United States from 1600 to 1960. In addition to providing a survey of American domestic architecture, the course provides an introduction to the study of American material culture. Field trips to Historic Deerfield, Old Sturbridge Village, Hartford, Connecticut, and sites in Amherst form an integral part of the course. Two class meetings per week.
Limited to 25 students. Fall semester. Professor K. Sweeney.2017-18: Not offered
(Offered as ARHA 271, ARCH 271 and EUST 271.) This course considers architecture and design of the 19th and 20th centuries in light of contemporary disciplinary themes like space, globalization, and sustainability. In doing so, it strives to highlight the social, political, intellectual, and technological forces that have influenced (and continue to motivate) modern design. Key figures to be addressed include: Gottfried Semper, William Morris, Peter Behrens, Adolf Loos, Le Corbusier, Mies van der Rohe, Robert Venturi and Denise Scott Brown, Daniel Libeskind, Herzog and de Meuron, and Zaha Hadid. Two class meetings per week.
Requisite: EUST 216, EUST 364, a course in art history, studio art, or consent of the instructor. Limited to 20 students. Spring semester. Visiting Professor Saletnik.2017-18: Not offered
Through case studies, this course explores the art of Western Europe between 1100 and 1500. The great church, including the cathedrals of Chartres and Paris, serves as the matrix for the consideration of architecture and its integration of sculpture, stained glass, and ritual performance. Thematic surveys examine art as a political tool in the hands of the secular elite, its construction of gender roles, and its reflection of the values of medieval society.
Limited to 30 students. Spring semester. Visiting Professor Davis.2017-18: Not offered
(Offered as GERM 366, ARCH 356, and EUST 246). This course will explore in detail the art, architecture, history and theory of the influential German art school, the Bauhaus. The subject of recent blockbuster exhibitions in New York and Berlin, this course will make use of many new publications and critical viewpoints. We will begin with the school's origins during WWI and the German Revolution, its spectacular contributions and controversial development during the Weimar Republic, and conclude with the demise of the Bauhaus by the National Socialists. We will trace the forced exile of many Bauhaus artists and architects, as well as analyze Bauhaus legacies (at Black Mountain College, the Ulm School of Design, the New Bauhaus Chicago, Yale, and Harvard, and in the Situationists' New Babylon project). The course will include the work of the architects Walter Gropius, Hannes Meyer, Mies van der Rohe and Lilli Reich; the art and design (textiles, metal work, prints, photographs, typography, paintings, sculpture, etc.) of Paul Klee, Wassily Kandinsky, Lyonel Feininger, Gunta Stözl, Moholy-Nagy, Herbert Bayer, Joseph Albers, and Oskar Schlemmer; and the writings of important Weimar writers and theorists, such as Erich Maria Remarque, Walter Benjamin, Georg Lukács, and Siegfried Kracauer. Students will be responsible for in-class presentations, a book review, and a final paper. Conducted in English, with German majors required to do a substantial portion of their reading in German.
Omitted 2012-13.2017-18: Not offered
(Offered as GERM 360, ARCH 360, EUST 360 and FAMS 316.) What is performance? What constitutes an event? How can we address a phenomenon that has disappeared the moment we apprehend it? How does memory operate in our critical perception of an event? How does a body make meaning? These are a few of the questions we will explore in this course, as we discuss critical, theoretical, and compositional approaches in a broad range of multidisciplinary performance phenomena emerging from European--primarily German--culture in the twentieth century. We will focus on issues of performativity, composition, conceptualization, dramaturgy, identity construction, representation, space, gender, and dynamism. Readings of performance theory, performance studies, gender studies, and critical/cultural studies, as well as literary, philosophical, and architectural texts will accompany close examination of performance material. Students will develop performative projects in various media (video, performance, text, online) and deliver a number of critical oral and written presentations on various aspects of the course material and their own projects. Performance material will be experienced live when possible, and in text, video, audio, digital media and online form, drawn from selected works of Dada and Surrealism, Bauhaus, German Expressionism, the Theater of the Absurd, Tanztheater, and Contemporary Theater, Performance, Dance, Opera, New Media, and Performance Art. A number of films, including Das Cabinet des Dr. Caligari, Oskar Schlemmer’s Das Triadische Ballett, Fernand Léger’s Ballet Mécanique, and Kurt Jooss’ Der Grüne Tisch, will be also screened. Conducted in English, with German majors required to do a substantial portion of the reading in German.
Omitted 2012-13. Professor Gilpin.2017-18: Offered in Fall 2017
(Offered as GERM 364, ARCH 364, and EUST 364.) This course will address a number of developments and transformations in contemporary urban architecture and performance from an international perspective. We will explore issues including, but not limited to, trauma, memory, absence, perception, corporeality, representation, and the senses in our examination of recent work in Germany and elsewhere, and read a number of texts from the fields of philosophy, critical theory, performance studies, and visual and architectural studies, in an attempt to understand how architecture is beginning to develop compositional systems in which to envision dynamic and responsive spaces in specific cultural contexts. We will focus our research on the work of a number of German and international architects, performance, and new media artists, including Jochen Gerz, Renata Stih and Frieder Schnock, Horst Hoheisel, Micha Ullman, Shimon Attie, Daniel Libeskind, Peter Eisenman, Rem Koolhaas, Greg Lynn, Mark Goulthorpe, R & Sie(n), Axel Kilian, Paul Privitera, Hani Rashid and Lise-Ann Couture, Herzog and de Meuron, Archigram, William Forsythe, Jan Fabre, Rachel Whiteread, Rebecca Horn, Sasha Waltz, Richard Siegal, Michael Schumacher, Robert Wilson, the Blix Brothers of Berlin, Pina Bausch, Granular Synthesis, Sponge, Rafael Lozano-Hemmer, Toni Dove, and many others. Conducted in English, with German majors required to do a substantial portion of the reading in German.
Omitted 2012-13. Professor Gilpin.2017-18: Not offered
(Offered as GERM 365 ARCH 365, and EUST 365.) This is a course about what happens to difficult memories: memories that are intensely personal, but made public, memories that belong to communities, but which become ideologically possessed by history, politics, or the media. How are memories processed into memorials? What constitutes a memorial? What gets included or excluded? How is memory performed in cultural objects, spaces, and institutions? What is the relationship between the politics of representation and memory? Who owns memory? Who is authorized to convey it? How does memory function? This course will explore the spaces in which memories are “preserved” and experienced. Our attention will focus on the transformation of private and public memories in works of architecture, performance, literature, and the visual arts primarily in Germany, Europe, and the United States. Preference given to German majors and European Studies majors, as well as to students interested in architecture/design, performance, the visual arts, interactive installation and/or the environment. Conducted in English, with German majors required to do a substantial portion of the reading in German.
Limited to 20 students. Fall semester. Professor Gilpin.2017-18: Not offered
(Offered as GERM 368, ARCH 368, EUST 368, and FAMS 373.) This research seminar will explore conceptions of space as they have informed and influenced thought and creativity in the fields of cultural studies, literature, architecture, urban studies, performance, and the visual, electronic, and time-based arts. Students will select and pursue a major semester-long research project early in the semester in consultation with the professor, and present their research in its various stages of development throughout the semester, in a variety of media formats (writing, performance, video, electronic art/interactive media, installation, online and networked events, architectural/design drawings/renderings), along with oral presentations of readings and other materials. Readings and visual materials will be drawn from the fields of literature and philosophy; from architectural, art, and film theory and history; from performance studies and performance theory; and from theories of technology and the natural and built environment. Emphasis on developing research, writing, and presentation skills is a core of this seminar.
Preference given to German majors and European Studies majors, as well as to students interested in architecture/design, performance, film/video, interactive installation, and/or the environment. Conducted in English. German majors will select a research project focused on a German Studies context, and will do a substantial portion of the readings in German.
Limited to 15 students. Enrollment requires attendance at the first class meeting. Spring semester. Professor Gilpin.2017-18: Offered in Spring 2018
(Offered as ENST 375 and ARCH 375.) This course interrogates the prevalent discourse of sustainability in architectural design literature, under the premise that "sustainability" is a politically-framed and context-dependent notion.
The main issue we explore is the often sidelined disconnect between the green design discourse vis-à-vis issues of poverty, migration, and modernization. On one side of this disconnect there is a green design imaginary—based on the idea that everybody, everywhere agrees with the global environmental agenda of natural preservation, greenhouse gas emission reductions, and alternative technologies. On the other side there are four billion people in the world living below the poverty line, and as they face socio-economic pressures, their interests are often at odds with the global ideals of sustainable design and development. If the global green imaginary celebrates exuberant forests, in the local experience the forests are viewed as wood for cooking.
By looking at canonical texts on green design, and analyzing these in light of current events and social science theory, we critically study how the sustainable design discourse relates to that disconnect. Topics include green building activism and so-called barefoot architecture, naturalism in architecture, and an ethno-architectural analysis of Third World villager experiences. We also study the discourse of green design and culture, the poetics and politics of intermediate technology, and lastly, issues of "green colonialism" and the commodification of the sustainability discourse.
Limited to 20 students. Fall semester. Five College Visiting Professor Arboleda.2017-18: Not offered
First and second semester.2017-18: Offered in Fall 2017 and Spring 2018
A full course. Spring semester.2017-18: Offered in Spring 2018