Lec 01 Jav151 2023

Filip Dujardin, (no title), 2009
JAV151 History of Architecture, Landscape, Urbanism, and Art I

Lecture 1
Hans Ibelings
JAV 151 Fall Semester: 1800-1940
12 Lectures
+ Readings (available on Quercus)
11 Tutorials
% of total grade
3 Assignments 54%
1 Open-book exam 35%
Tutorial participation 11%
JAV 152 Winter Semester: 1940-2020

Required Readings:
• Dana Arnold, Art History: A Very Short Introduction ((Oxford University Press, 2020),1-28.
• Andrew Ballantyne, Architecture: A Very Short History (Oxford University Press, 2002), 84-116.
• Meltem Ö. Gürel, Kathryn H. Anthony, “The Canon and the Void: Gender, Race, and Architectural History
Texts,” Journal of Architectural Education 59, no. 3 (February 2006): 66-76.
Tutorials
Week 2
TUT TUT TUT TUT

01,02,09,10 03,04,11,12 05,06,13,14 07,08,15,16
Lectures
Daniels Library Reading plans Reading plans Reading plans
2 topics each tour
Lecture 1 Introduction
Week 3
Lecture 2 Industrialization & Urbanization
TUT TUT TUT TUT
Lecture 3 Geo-Engineering & Infrastructure 01,02,09,10 03,04,11,12 05,06,13,14 07,08,15,16
Reading plans Daniels How to avoid How to avoid

Library tour plagiarism plagiarism
Lecture 4 1800-1850 & St Petersburg
Lecture 5 Paris & London
Lecture 6 1850-1900 & Arts/Crafts/Industry

Lecture 7 Vienna & Chicago
Week 4
Lecture 8 Colonial planning & Early Environmentalism
TUT TUT TUT TUT
01,02,09,10 03,04,11,12 05,06,13,14 07,08,15,16
Lecture 9 1900-1950 & City and landscape
How to avoid How to avoid Daniels Footnotes,
Lecture 10 Avant-gardes & Art Deco plagiarism plagiarism Library tour Chicago
Manual of Style
Lecture 11 Berlin & Ankara
Lecture 12 Casablanca & Canberra
Week 5
TUT TUT TUT TUT
01,02,09,10 03,04,11,12 05,06,13,14 07,08,15,16
Footnotes, Footnotes, Footnotes, Daniels Library

Chicago Manual Chicago Manual Chicago Manual tour
of Style of Style of Style
Please consult “Reading and Using Sources: How Not to Plagiarize” on the
University of Toronto writing site (http://www.writing.utoronto.ca/).
Plagiarism is: "presenting the work, ideas, or words of
another as your own, even by accident."
https://guides.library.utoronto.ca/plagiarism
5 Rules to Avoid Plagiarism
1 Never Copy/Paste
2 Cite - Always tell where your information comes from: Use footnotes.
3 Quote - If you use somebody’s words, use quotation marks and tell who
and what you are quoting. Add a footnote (See 2).
If the quote is longer than 50 words: Go to 4.
4 Paraphrase - Use your own words. Add a footnote (See 2). If you want to
use the exact original text: See 3.
5 Reference - Include a list of the complete titles of all your sources.

Six Rules of George Orwell
1. Never use a metaphor, simile, or other figure of speech which you are used to seeing
in print.
2. Never use a long word where a short one will do.
3. If it is possible to cut a word out, always cut it out.
4. Never use the passive where you can use the active.
5. Never use a foreign phrase, a scientific word, or a jargon word if you can think of an
everyday English equivalent.
6. Break any of these rules sooner than say anything outright barbarous.
http://www.economist.com/styleguide/introduction
The Economist Style Guide
Use the language of everyday speech, not that of

spokesmen, lawyers or bureaucrats (so prefer let to permit,
people to persons, buy to purchase, colleague to peer, way
out to exit, present to gift, rich to wealthy, show to
demonstrate, break to violate). Pomposity and long-
windedness tend to obscure meaning, or reveal the lack of it:
strip them away in favour of plain words.
http://www.economist.com/styleguide/introduction
Six Rules of George Orwell, edited:
1. Never use a cliché.
2. Never use a long word when a short one will do.
3. If it is possible to cut a word out, do it.
4. Avoid the passive where you can use the active.
5. Never use jargon if there is a similar everyday word.
6. Break no rules before you master them.

What are we talking about when we talk about architecture, urbanism, landscape
design, art? And who is talking?
What are we talking about when we talk about architecture, urbanism, landscape design, art?
Typography-Furniture design-Interior design -Architecture-Urbanism-Landscape design- Regional planning
Art
What are we talking about when we talk about architecture, urbanism, landscape design, art?
Typography-Furniture design-Interior design -Architecture-Urbanism-Landscape design- Regional planning
Art
How to tell the story of history?
One continuous narrative
Multiple narratives
Entangled narratives
Fragmented narratives
Multiple narratives
Multiple narratives
James Bond: Goldfinger, 1964
Morris Lapidus, Fontainebleau Hotel, Miami Beach, 1952-1954
Morris Lapidus, Eden Roc Hotel, Miami Beach, 1955

Morris Lapidus (1902-2001)
Giovanni Battista Piranesi,

Remains of the Temple of
Castor and Pollux,
Views of Rome, 18th century
Forum Romanum, Rome
Giovanni Battista Piranesi, Remains of the Temple of Castor and Pollux,

Views of Rome, 18th century
André Le Nôtre, Fontainebleau, 1660-1664 and Versailles, 1662-1690

photos: Ezra Stoller

Ludwig Mies van der Rohe, with
Philip Johnson,
Seagram Building, New York
1954-1958
Photo: Ezra Stoller

Philip Johnson, photo of the model of Seagram
Philip Johnson, Seagram building
Building, Ludwig Mies van der Rohe,
model, Ludwig Mies van der Rohe, 1955
and Phyllis Lambert, New York, 1955.
Photo Irving Penn, collection CCA,
Photographer unknown. CCA, Montreal © United
Montreal © Condé Nast
Press International
Morris Lapidus, bar of the Seagram’s Distillers Corp., Chrysler Building, New York, 1931
Photo: Samuel Gottscho
Gottscho-Schleisner Collection, Library of Congress, Prints and Photographs Division

William van Alen, Chrysler Building, New York, 1930
Photo: Samuel Gottscho, 1932

Gottscho-Schleisner Collection,
Library of Congress Prints and
Photographs Division Washington D.C.
Morris Lapidus, Trump Village, Brooklyn, New York, 1963-1964
Photo: Barton Silverman/The New York Times (1973)
Ludwig Mies van der Rohe
Ezra Stoller
Eden Roc Hotel Philip Johnson

Seagram Building
Fontainebleau Seagram
Hotel
Morris Lapidus Phyllis Lambert
Chrysler Building
Samuel Herman Gottscho

William Van Alen
Giovanni Battista Piranesi

André Le Nôtre Vedute di Roma
Versailles and Fontainebleau
Multiple narratives
Narratives:
What?
Which, and whose, perspective?

Narratives:
What?

And who is talking?
European
Male
White
Throughout this course three perspectives:
1 Conventional: Euro/Western-centric
2 Global: post-colonial, more inclusive/diverse
3 Planetary: post-humanist, environmentalist

History of …..
Architecture, urbanism, landscape and art

Buildings, cities, parks and paintings/ sculptures

Human-made
Buildings, cities, parks and paintings/ sculptures

Sabato Rodia, Watts Towers,
Los Angeles, 1921-1954
Human Centric
Leonardo da Vinci Victor Olgyay, Design with Climate:

Vitruvian Man, circa 1490 Bioclimatic Approach to Architectural Regionalism
(Princeton: Princeton University Press, 1963)
Human Centric Non Human Centric
Leonardo da Vinci
Vitruvian Man, circa 1490
https://www.amnh.org/explore/
science-topics/microbiome-health/
meet-your-microbiome
Human-centric worldview Non-human-centric/
Western/modern Ecocentric worldview
Anthropocene
(Realization that
human presence and activity
are a geological force)
Key moments
1500 1800
Modern concept of architecture

Beginning of Industrial Revolution
Architect as designer (not as builder)
Beginning of European colonization of Modern architecture, planetary warming
Americas, Africa, Asia, Oceania
= Anthropocene
+ ecological transfers
Narratives:
What?

“Art worlds consist of all the people whose activities are necessary to the production of the characteristic
works which that world, and perhaps others as well, define as art.”
Howard S. Becker, Art Worlds (Berkeley: University of California Press, 1984), 34.
“Art worlds consist of all the people whose activities are necessary to the production of the characteristic
works which that world, and perhaps others as well, define as art.”
Howard S. Becker, Art Worlds (Berkeley: University of California Press, 1984), 34.
Art
Art world
Pet Pest
Plant Weed
Franz Boas, Primitive Art (New York: Dover, 1955 [1927]) David Carrier and Joachim Pissarro,
Wild Art (London: Phaeton, 2013)
Franz Boas, Primitive Art (New York: Dover, 1955 [1927])
“Wild Art is the vast proliferation of art forms that occur beyond the
perimeters of the established art world. It is graffiti, car art, body art, ice
and sand sculpture, flash mobs and burlesque acts.”
Edgar Müller, The Crevasse, Dun

Laoghaire, 2009
‘Bloemencorso’, Zundert, 3 September 2023
David Carrier and Joachim Pissarro,

Wild Art (London: Phaeton, 2013)
What is left of the past?
- art /architecture with an exceptional value

- art/architecture robust enough to survive
- art/architecture not demolished by wars, revolutions, disasters
+ memory of exceptional art/architecture
What makes a building/art work important?
when it is the ‘only’

when it is the ‘first’
when it is the ‘largest’
when it is the model for others
when it is beautiful
when everybody says it is important

Andrew Ballantyne, Architecture: A Very Short History
(Oxford University Press, 2002), 91.
“It was a very expensive building, which has meant

that its imitators have tended to produce noticeably
inferior versions of the original, but the reason for its
historical importance is not so much what it is in itself,
but that it had a huge influence and spawned so many
imitations. That it why it seems culturally important
and why it is always mentioned in architectural
histories.”
“The buildings that we tend to call ‘great’ are those

which change the course of events, so they mark out
the next chapter in the story that is being told, and for
that reason in retrospect they always look ‘ahead of
their time’. This is not at all the same thing as
supposing that buildings that try to look futuristic are
historically important. It is impossible to tell in
advance which way things are going to develop, so we
cannot always predict which buildings are going to be
the historically important ones. It is necessary for
them to have some degree of accomplishment, but
Ludwig Mies van der Rohe, with Philip Johnson, there are so many buildings around that it would be
Seagram Building, New York, 1954-1958 impossible to tell a story that included even all the
Photo: Ezra Stoller reasonably good buildings.”
Conventional perspective
Cultural intentions
With artists, Without artists,

architects architects
Pragmatic intentions
Cultural intentions
Architecture,
Art

Cultural intentions
Crafts
Art Vernacular
Amateur
Wild Art

Decorative ?
Artisanal
Cultural intentions
Carlo Scarpa,
Vase from the
“Murano”
Tessuti series
(Venini, Murano)

Dollar Tree
Cyan Design
$2500 $500
Cultural intentions
Carlo Scarpa,
Vase from the “Murano”
Tessuti series
(Venini, Murano)

Dollar Tree
Cyan Design
$100 $1
Cultural intentions
Architecture Vernacular

Building ?
Cultural intentions
Le Corbusier, Villa Fallet,

Chaux-de-Fonds, 1905
18th century Swiss Chalet
Swiss Chalet Restaurant,

Toronto
Catalogue home
History through the lens of
Society
Economy Time
Sustainability Class
Site
Material Project Culture
Technology
Users
Designer Client
Power
Labour Energy
Gender
Builder
Ludwig Mies van der Rohe, Tugendhat House, Brno, 1928-1930
Ludwig Mies van der Rohe, Lilly Reich, Tugendhat House, Brno, 1928-1930
“The inner furnishings of the house were designed by Ludwig Mies van der Rohe
Lilly Reich (1885-1947)
along with his colleagues Lilly Reich and Sergius Ruegenberg.”
tugendhat.eu
Collection MoMA, New York

Brno, Moravia
1918 Czechoslovakia
1939 Protectorate of Bohemia and Moravia (Nazi-German occupation)
1948 Czechoslovak Socialist Republic
1989 Czechoslovakia
1993 Czech Republic
2016 Czechia
https://www.acsa-arch.org/resources/data-resources/where-are-the-women-measuring-progress-on-gender-in-architecture/
(Strongly) agree: 70%
BAME = Black, Asian, Minority Ethnic
Richard Waite, “Architecture is systemically racist. So what is the profession going to do about it?,”
AJ 23 July 2020
https://www.architectsjournal.co.uk/news/architecture-is-systemically-racist-so-what-is-the-
profession-going-to-do-about-it?
Tugendhat House, 1928-1930
Architect: Mies van der Rohe, and Lilly Reich, Berlin
Client: Fritz and Grete Tugendhat, Brno
Use: dwelling, private dance school, rehabilitation centre for children with spine
defects, monument
Grete Löw-Beer Fritz Tugendhat
Client: Fritz and Grete Tugendhat, Brno

Tugendhats
Textile and sugar barons in Moravia
Löw-Beers
Capitalists
Philanthropists
Patrons of the arts
Persecuted Jews
Alexander Neumann, Löw-Beer Villa, Brno, 1903
Ludwig Mies van der Rohe, Tugendhat House, Brno, 1928-30
Ludwig Mies van der Rohe, Hugo Perls House, Berlin 1911
(sold to Eduard Fuchs)
Construction company: Arthur and Moritz Eisler, Brno
Otto Eisler, Synagogue, Brno, 1931 Otto Eisler, House for Two Young Men
(Moritz and Otto Eisler), Brno, 1931
‘honey and yellow coloured onyx with

white veins from the foothills of the
Atlas in Morocco and the half-circular
wall originally from Macassar ebony
wood mined on the island of Celebes
in south-east Asia’
tugendhat.eu
French protectorate
‘honey and yellow coloured onyx with

white veins from the foothills of the
Atlas in Morocco and the half-circular
wall originally from Macassar ebony
wood mined on the island of Celebes
in south-east Asia’
tugendhat.eu
Dutch colony
History through the lens of
Perspective
A topic can be approached in different ways
…which is reflected in the variety of books and articles Different perspectives in different publications
(And different types of publications)
…. which themselves can be read in different ways
Different readings
General interest (non-specialized)
Books and articles
Professional
Specialized
Academic/scientific
Newspaper article
Books and articles
Mention General interest

Paragraph
Chapter
Whole book
Whole article
Academic/scientific
What is it?
When was it published?
How and in which context does it address the topic?
How can you read/use it?
Assignment 1
Due 28 September 11.59 pm (15%)
1
Read the following texts about Gustave Eiffel and the Eiffel Tower in Paris (1889):
“The Eiffel Meteorological Observatory”, The Popular Science News and Boston Journal of Chemistry 24, no. 6 (1 June 1890): 81.
“M. Gustave Eiffel”, Nature 113, no. 2827 (5 January 1924): 21.
“M. Eiffel’s Tower”, The Graphic 35, no. 899, (19 Feb 1887): 178.
David P. Billington, The Tower and the Bridge: The New Art of Structural Engineering (Princeton: Princeton University Press, 1983): 84-95.
Sigfried Giedion, Building in France: Building in Iron, Building in Ferro-Concrete (Santa Monica: Getty Center, 1995), 90-93.
(originally published in 1928 as Bauen in Frankreich: Bauen in Eisen, Bauen in Eisenbeton)
Martha Kuhlman, “Prague meets Paris: The Reception and Representation of the ‘Eiffelka’", Modernism/Modernity 14, no. 2 (April 2007): 291-308.
2
Describe for each text:
a.What does this text tell you about the Eiffel Tower and/or Eiffel?
b.What kind of text is it?
c.What is the text’s main subject?
d.For what kind of research could this text be useful?
(length: circa 150 words per text, circa 900 words in total)
Eiffel Tower, Paris 1889
Robert Delaunay, Eiffel Tower

(Hirschhorn I), 1922
Conventional
Modern Architecture Exhibition, Museum of Modern Art, New York, 1932
Compiled by Henry-Russell Hitchcock and Philip Johnson
Ludwig Mies van der Rohe, Lilly Reich,

Tugendhat House, Brno, 1928-1930
Modern Architecture: International Exhibition (New York: Museum of Modern Art, 1932)
https://assets.moma.org/documents/moma_catalogue_2044_300061855.pdf
Frank Lloyd Wright,
Robie House,
Chicago, 1910
Walter Gropius,
Bauhaus,
Dessau, 1926
Le Corbusier,
Villa Savoye,
Poissy, 1931
J.J.P. Oud,
Kiefhoef Housing,
Rotterdam, 1930
Modern Architecture: International

Ludwig Mies van der
Exhibition (New York: Museum of
Rohe, Lilly Reich,
Modern Art, 1932)
German pavilion,
Barcelona, 1928
Walter Gropius, and Ludwig Mies van der Rohe both William Lescaze (Swiss, moved to US in 1920)
moved to US in 1937
Richard Neutra (Austrian, moved to US in 1923)
‘The modern movement, in its formative years
between the world wars, was scarcely a
worldwide phenomenon: it was the intellectual
property of certain countries in Western Europe,
of the United States and of some parts of the
Soviet Union. In retrospect this is scarcely
surprising since the very conception of modern
architecture was linked to the existence of
“avant-gardes” seeking authenticity within
(so-called) “advanced” industrial countries.’
Willam Curtis, Modern Architecture since 1900

(London: Phaidon, 1987, second edition), 331.
Ludwig Mies van der Rohe, 1982

Lake Shore Drive Apartments
Chicago, 1948-1951
Meltem Ö. Gürel, Kathryn H. Anthony, “The Canon and the Void: Gender, Race, and Architectural History Texts,” Journal of Architectural
Education 59, no. 3 (February 2006), 66.
‘For art history the canon has usually, but not exclusively, been associated with the ‘traditional’ values of art. As such, the
canon is artwork regarded by influential individuals—not least connoisseurs—as being of the highest quality.
Consequently, the canon plays an important role in the institutionalization of art, as new works can be judged against it
and it is used as a means of imposing hierarchical relationships on groups of objects. This hierarchy usually favours the
individual genius and the idea of the ‘masterpiece’. Moreover, the canon promotes the idea that certain cultural objects
or styles of art have more value (both historical and monetary) than others. One of my principal interests in this book is
the impact of canonical works that are considered defining examples of taste and of historical significance on art
history.’
Dana Arnold, Art History: A Very Short Introduction ((Oxford University Press, 2002), 9
Philip Johnson,
“Historical Note,” in
Modern Art, 1932), 18-20
Joseph Paxton, Crystal Palace, London, 1851
Philip Johnson,
Modern Art, 1932), 18-20
Conventional history
1850 1950
Engineers
Modern architecture
Individual innovators
1850 1950
Joseph Paxton, Crystal Palace, London 1851 Walter Gropius, Adolf Meyer, Fagus Factory, Alfeld, 1913
Dickinson's Comprehensive Pictures of the Great Exhibition of 1851, from the originals painted for ... Prince Albert, by Messrs. Nash, Haghe and
Roberts (London: Dickinson Brothers, 1854)
Peter Berlyn, Charles Fowler Jr., The Crystal Palace: Its Architectural History and Constructive Marvels (London: James Gilbert, 1851)
Philip Johnson,
Modern Art, 1932), 18-20
Walter Gropius and Adolf Meyer, Fagus shoe last factory, Alfeld, 1911-1913
Edmund Lill / Fagus-GreCon, 1923 Niedersächsisches Landesamt für Denkmalpflege, Hannover

Brinkman & Van der Vlugt, Van Nelle factory for coffee, tea and tobacco, Rotterdam. 1927-1931
Brinkman & Van der Vlugt, Van Nelle factory, Rotterdam. 1927-1931
Conventional history 1800-present =
History of modern architecture and art

Western Architecture
}
1750 1800 1850 1900
Modern
1950 2000
1750 1800 1850 1900 1950 2000
Neoclassicism 1750
Neo-styles 1850
Modernism 1900
Postmodernism 1970
1750 1800 1850 1900 1950 2000
Neoclassicism 1750
Eclecticism/Neo-styles 1850
Arts and Crafts 1860
Art Nouveau 1890
Modernism 1900
Art Deco 1925
Brutalism 1950
Postmodernism 1970
Western Art
1750 1800 1850 1900 1950 2000
Neoclassicism 1750
Romanticism 1790
Realism 1850
Impressionism 1870
Expressionism 1900
Fauvism
Cubism/Futurism 1910
Avantgardes Abstraction
Dada/Surrealism 1920
Abstract Expressionism 1950

Neo-Avantgardes Pop Art 1960
Postmodernism 1970
Most basic periodization
Neoclassicism 1750
Modernism 1850
Postmodernism 1970
}
1750 1800 1850 1900
Modern
1950 2000
Claude Nicolas Ledoux
(1736-1806)
1933
Ledoux Le Corbusier
Continuity classicism-modernism
Loue River, France
Claude Nicolas Ledoux, House for the Supervisors of the Loue River, 1804
Le Corbusier, Villa Savoye, Poissy-sur-Seine, 1928-1931
19th century engineers 20th century modern architects
Sigfried Giedion, Bauen in Frankreich: Bauen in Eisen, Bauen in Eisenbeton (Leipzig: Klinkhardt & Biermann, 1928)
Ferdinand Arnodin, Transporter bridge, Marseilles, 1905
(destroyed 1944)
Jules Saulnier, Menier Chocolate Factory, Nosiel, 1872 (Menier
founded in 1816)
Ludwig Mies van der Rohe, Weissenhofsiedlung, Stuttgart, 1927
Wilhelm von Nördling, Belon Viaduct, Coutansouze, 1886-1871
Southern Methodist University, Central University Libraries, DeGolyer Library
Richard Buckminster Fuller, and Cambridge Seven, American pavilion Expo 67, Montreal, 1967 (postcard and photo from
www.cambridgeseven.com)
Norman Foster, Willis Faber & Dumas, Ipswich, 1971-1975
Renzo Piano and Richard Rogers, Centre Pompidou, Paris, 1971-1977
Global
‘Chronologically, Eastern development does not parallel the Western story;
instead of a series of styles and trends, the architecture of Eastern civilizations
remained static for many centuries, much as that of Ancient Egyptians.’
James Neal, Architecture: A Visual History (London: PRC, 1999)

‘Many … histories have also implied that style was relatively constant in most
parts of the world but in almost constant flux in Europe and in territories
settled by people of European descent.’
Kathleen James-Chakraborty, Architecture since 1400 (Minneapolis: University of Minnesota Press, 2014), xv.
‘The non-historical styles Indian, Chinese and Japanese
and Central American are those which developed mainly
on their own account and exercised little direct
influence on other styles. They can thus be studied
independently, and need not interrupt the story of the
evolution of European Historical Architecture dealt with
in Part I., which would probably be the case if they were
placed in their chronological order. The position which
they should occupy in a History of Architecture is,
however, a matter of doubt, but it is thought that by
keeping them quite separate from the historical styles,
it will make for greater clearness to the student.’
Banister Fletcher and Banister F. Fletcher, A History of Architecture on the Comparative Method
for the Student, Craftsman, and Amateur (London: Batsford, 1905 [1895]), 603
Prehistoric Architecture
PART I. THE HISTORICAL STYLES
General Introduction
Egyptian Architecture
Western Asiatic Architecture
Greek Architecture
Roman Architecture
Early Christian Architecture
Byzantine Architecture
Romanesque Architecture in Europe (General Introduction)
Italian Romanesque French Romanesque
German Romanesque
Gothic Architecture in Europe (General Introduction)
English Architecture
Anglo-Saxon
Norman
Early English Gothic
Decorated Gothic
Perpendicular Gothic
Tudor
Scottish Architecture
Irish Architecture Banister Fletcher and Banister F. Fletcher,
French Gothic Architecture A History of Architecture on the
Comparative Method for the Student,
Craftsman, and Amateur (London:
Batsford, 1905 - fifth edition)
Belgian and Dutch Gothic
German Gothic
Italian Gothic
Spanish Gothic
Renaissance Architecture (General Introduction)
Italian Renaissance Architecture
The Florentine School
The Roman School
The Venetian School
Vicenza and Verona
Milan and Genoa
The Rococo Style
French Renaissance Architecture
German Renaissance
Belgian and Dutch Renaissance
Spanish Renaissance
English Renaissance Architecture
The Elizabethan Style
The Jacobean Style
The Anglo-Classic (Seventeenth Century) Style
The Queen Anne (Eighteenth Century) Style
The Nineteenth Century Style (1800-1851)
1851 to present time Banister Fletcher and Banister F. Fletcher,
British Colonial Architecture A History of Architecture on the
Architecture in the United States Comparative Method for the Student,
PART II. THE NON-HISTORICAL STYLES.
General Introduction
Indian Architecture
1. The Buddhist Style
2. The Jaina Style
3. The Hindu Style
(a) Northern Hindu
(b) Chalukyan
(c) Dravidian
Chinese and Japanese Architecture
Ancient American Architecture
Saracenic Architecture
Arabian
Syrian
Egyptian
Spanish
Persian Banister Fletcher and Banister F. Fletcher,
Turkish
A History of Architecture on the
Indian
Comparative Method for the Student,
‘The architecture of Central America is so unimportant in its
general aspect that a few words will suffice to explain its
character.’
Banister Fletcher and Banister F. Fletcher, A History of Architecture on the Comparative Method
for the Student, Craftsman, and Amateur (London: Batsford, 1905 [1895]), 652
Roman
Ancient 500–1450
Byzantine,
Romanesque, Gothic
2500 BCE-0 0-500
800-1200 1100-1500
Pier Luigi Nervi (ed.), History of World Architecture (New York: Abrams)
1970s, translated from the Italian
1400-1600 1600-1700 1700-1750
Renaissance
Baroque
Late Baroque/Rococo
Neo-classical/19th C
Modern
1750-1900 1850-2000
600-
1200 BCE-1500
??
??
600
1200 BCE-1500
✗
??
??
Primitive > Vernacular
‘Vernacular architecture comprises the dwellings and all other buildings of the people. Related to
their environmental contexts and available resources they are customarily owner- or community-
built, utilizing traditional technologies. All forms of vernacular architecture are built to meet
specific needs, accommodating the values, economies and ways of living of the culture that
produce them. They may be adapted or developed over time as needs and circumstances change.’
Marcel Vellinga, Paul Oliver, Alexander Bridge, Atlas of Vernacular Architecture of the World
(Abingdon: Routledge, 2007), xiii.
✗
‘Until well in the twentieth century, the vast majority of research and teaching in the fields of
architecture and architectural history has been concerned with formal, monumental and
prestigious architecture that, designed by master builders or professional architects, signifies
power, status, wealth, or most often, all of these together.’
(Abingdon: Routledge, 2007), xiii.
‘Until well in the twentieth century, the vast majority of research and teaching in the fields of
architecture and architectural history has been concerned with formal, monumental and
prestigious architecture that, designed by master builders or professional architects, signifies
power, status, wealth, or most often, all of these together.’
(Abingdon: Routledge, 2007)
Bernard Rudofsky, Architecture without Architects, an Introduction to Non-pedigreed

Architecture (New York: Museum of Modern Art, 1964).
Conventional histories
Focus on:
The West
Modernism
Modernization, industrialization
(White male architects)
Global histories
Address:
Globalization/World
Inclusive/Entangled/ Transnational
Transfer/Exchange
Colonial/Postcolonial
Social (in)justice
Racism and racialization
Feminism/Gender
Cultural relativism/Multiple viewpoints
Colour images, using chromolithography (invented 1837)
‘Mediaval court’, curated by Auguste Pugin
Dickinson's Comprehensive Pictures of the Great Exhibition of 1851, from the originals
painted for ... Prince Albert, by Messrs. Nash, Haghe and Roberts (London: Dickinson
Brothers, 1854)
Dickinson's Comprehensive Pictures of the Great Exhibition of 1851, from the originals painted for ... Prince Albert, by Messrs. Na
Brinkman & Van der Vlugt, Van Nelle Factory for Coffee, Tea and Tobacco, Rotterdam, 1926-1930
Van Nelle Advertising
Planetary
Peter Berlyn, Charles Fowler Jr., The Crystal Palace:Joseph Paxton, Crystal Palace, London, 1851
Its Architectural History and Constructive Marvels
(London: James Gilbert, 1851)
Ventilation louvres
Ventilator
Charles Downes and Charles Cowper, The Building
Erected in Hyde Park for the Great Exhibition of
the Works of Industry of all Nations, 1851 (London:
John Weale, 1852)
Joseph Paxton, Crystal Palace,
Hyde Park, 1851
Joseph Paxton,
Second /Recycled Crystal Palace
Sydenham, 1854
Joseph Paxton, Crystal Palace, Sydenham 1854 Egyptian Court in Crystal Palace, Sydenham 1854
Joseph Paxton, Crystal Palace, Sydenham 1854
Joseph Paxton, Crystal Palace, Sydenham 1854
J.B. Bunning, Coal Exchange,
London, 1849-1852
Modern Architecture Exhibition, Museum of Modern Art, New York, 1932
Compiled by Henry-Russell Hitchcock and Philip Johnson
Ludwig Mies van der

Rohe, Lilly Reich,
Tugendhat House,
Brno, 1928-30
https://assets.moma.org/documents/moma_catalogue_2044_300061855.pdf
Lewis Mumford, “Housing,” in Modern Architecture: International Exhibition (New York: Museum of Modern Art, 1932), 179-189.
Lewis Mumford, “Housing,” in Modern Architecture: International Exhibition (New York: Museum of Modern Art, 1932), 179-189.
Fagus shoe lasts (beech)
First asymmetric lasts
Fagus director: Carl Benscheidt (1858-1947)
Interested in naturopathy
Visited Arnold Rikl, whoi offered helio-hydroscopic

treatments in Bled (Slovenia)
Bernard Rudofsky, Bernardo Sandal, 1946-present
Private Collection of Vojko Zavodnik
Arnold Rikli (1823-1906)

Bled
‘Atmospheric therapy’
Water, air and sun baths
Walks in nature
Arnold Rikli (1823-1906)
Sigfried Giedion, Mechanization Takes Command

(New York: Oxford University Press, 1948)
Auguste Rollier, Heliotherapy
Leysin, 1920s
Sigfried Giedion, Befreites Wohnen

(Zurich: Orell Füssli Verlag,1929)
Alexander Fleming discovered penicillin in 1928

Antibiotic revolution 1940s
1921
A. Rollier, La cure de soleil (Paris: Baillière, 1936)

Jan Duiker, Open Air School, Amsterdam, 1927
Jan Duiker, Bernard Bijvoet, Zonnestraal Sanatorium, Hilversum, 1925-1931
Sanatorium for tuberculosis patients

Financed by Amsterdam diamond workers
Jan Duiker, Bernard Bijvoet, Zonnestraal Sanatorium, Hilversum, 1925-1931
Sanatorium for tuberculosis patients

Financed by Amsterdam diamond workers
Diamond industry relied on South African mines
Kimberley Mines
1872
Masterpiece of modern architecture
Jan Duiker, Bernard Bijvoet,

Zonnestraal Sanatorium, Hilversum, 1925-1931
Global history
Entangled with colonial exploitation in South Africa
Planetary history
Awareness of health, disease and pollution
Entangled with environmental destruction in South Africa
Kimberley Mines
15 September:
Tutorial 1
• Reading/summarizing texts
20 September:
Lecture 2: Industrialization and Urbanization
Topics Covered:
• Industrial Revolution, modern architecture, planetary warming
• Urbanism, city and countryside, global cities, planetary urbanization
Required Readings:
• Kathleen James-Chakraborty, Architecture since 1400 (Minneapolis: University of Minnesota Press, 2014), 255-272.
• John McNeill, Something New Under the Sun: An Environmental History of the Twentieth Century (London: Allen Lane, 2000), 269-295.
28 September
Assignment 1 (15%), due 11:59 pm

Lec 01 Jav151 2023

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Filip Dujardin, (no title), 2009

JAV151 History of Architecture, Landscape, Urbanism, and Art I

JAV 152 Winter Semester: 1940-2020

TUT TUT TUT TUT

Reading plans Daniels How to avoid How to avoid

Lecture 6 1850-1900 & Arts/Crafts/Industry

Footnotes, Footnotes, Footnotes, Daniels Library

5 Reference - Include a list of the complete titles of all your sources.

2. Never use a long word where a short one will do.

3. If it is possible to cut a word out, always cut it out.

Use the language of everyday speech, not that of

1. Never use a cliché.

2. Never use a long word when a short one will do.

3. If it is possible to cut a word out, do it.

4. Avoid the passive where you can use the active.

5. Never use jargon if there is a similar everyday word.

6. Break no rules before you master them.

Typography-Furniture design-Interior design -Architecture-Urbanism-Landscape design- Regional planning

Typography-Furniture design-Interior design -Architecture-Urbanism-Landscape design- Regional planning

One continuous narrative

One continuous narrative

One continuous narrative

Morris Lapidus, Eden Roc Hotel, Miami Beach, 1955

Giovanni Battista Piranesi,

Giovanni Battista Piranesi, Remains of the Temple of Castor and Pollux,

André Le Nôtre, Fontainebleau, 1660-1664 and Versailles, 1662-1690

photos: Ezra Stoller

Morris Lapidus, Fontainebleau Hotel, Miami Beach, 1952-1954

Photo: Ezra Stoller

Gottscho-Schleisner Collection, Library of Congress, Prints and Photographs Division

Photo: Samuel Gottscho, 1932

Eden Roc Hotel Philip Johnson

Samuel Herman Gottscho

Giovanni Battista Piranesi

One continuous narrative

Which, and whose, perspective?

Which, and whose, perspective?

2 Global: post-colonial, more inclusive/diverse

3 Planetary: post-humanist, environmentalist

Architecture, urbanism, landscape and art

Architecture, urbanism, landscape and art

Architecture, urbanism, landscape and art

Leonardo da Vinci Victor Olgyay, Design with Climate:

Modern concept of architecture

Which, and whose, perspective?

Edgar Müller, The Crevasse, Dun

‘Bloemencorso’, Zundert, 3 September 2023

David Carrier and Joachim Pissarro,

- art /architecture with an exceptional value

+ memory of exceptional art/architecture

What makes a building/art work important?

when it is the ‘only’

when everybody says it is important

“It was a very expensive building, which has meant

“The buildings that we tend to call ‘great’ are those

With artists, Without artists,

With artists, Without artists,

With artists, Without artists,

With artists, Without artists,

With artists, Without artists,

With artists, Without artists,

Le Corbusier, Villa Fallet,

Swiss Chalet Restaurant,