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RATIONALISM - EMPIRICISM - MODERNISM *(R) Denotes required readings provided in xerox format and/or on reserve (R) Denotes optional readings placed on reserve in the Fine Arts Library *Walter Benjamin, Illuminations, trans. Harry Zohn (New York: Schocken Books, 1968), "Theses on the Philosophy of History" *(R) Tim Benton, The Villas of Le Corbusier: 1920-1930 (New Haven: Yale University Press, 1987), "Architectural Promenade [Villas Savoye & Jeanneret]" pp. 43-82 Kenneth Frampton (text), Roberto Schezen (photography), Le Corbusier: Architecture of the 20th Century (New York: Abrams, 2002), "Villa Savoye" pp. 4.35-4.53 *(R) Werner Blaser, Mies van der Rohe: The Art of Structure (New York: Praeger, 1965), "Barcelona Pavilion [1929]" (pp. 28-36), "Farnsworth House [1945-50]" (pp. 106-119), "Seagram Building [1954-58]" (pp. 145-57) Denis Bousch, Damjan Prelovsek et alia, "Joze Plecnik: Construire la Democratie" L'Architecture d'Aujourd'hui 305 (June 1996), pp. 47-95 (R) Susan Buck-Morss, Dreamworld & Catastrophe: The Passing of Mass Utopia in East & West (Cambridge: MIT Press, 2000), "Dreamworlds of History", "Dreamworlds of Mass Culture" (R) __________, Dialectics of Seeing: Walter Benjamin & The Arcades Project (Cambridge, MA: MIT Press, 1989), "Historical Nature: Ruin", pp. 159-201 (R) Massimo Cacciari, Architecture & Nihilism: On the Philosophy of Modern Architecture, trans. Stephen Sartarelli (New Haven: Yale, 1993), "The City as Essay" (pp. 87-96), "Loos & His Angel" (pp. 143-198) *(R) Cornelius Castoriades, World in Fragments, trans. David Ames Curtis (Stanford: Stanford University Press, 1997), "Merleau-Ponty & the Weight of the Ontological Tradition", pp. 273-310 *(R) __________, The Imaginary Institution of Society, trans. Kathleen Blamey (Cambridge, MA: 1988), "The Symbolic & the Imaginary" (pp. 127-131), *"The Leaning of Society on Nature" (pp. 229-237) (R) Francoise Choay, The Modern City: Planning in the 19th Century, trans. Marguerite Hugo & George R. Collins (New York: Braziller, 1970) __________, Invention of the Historic Monument (Cambridge: Cambridge University Press, 2000) *(R) Alex Coles (ed.), The Optic of Walter Benjamin, [de-, dis-, ex-, Vol. 3] (London: Black Dog, 1999), "Walter Benjamin & the Tectonic Unconscious: Using Architecture as an Optical Instrument" (Detlef Mertins), pp. 196-221 *(R) Caroline Constant, Woodland Cemetery: Toward a Spiritual Landscape (Stockholm: Byggforlaget, 1994), "The Woodland Cemetery (1916-34)" (pp. 89-107), "The Spiritual Possibilities of Landscape" (pp. 133-135) *Jean-Francois Courtine, Michel Deguy et alia, trans. Jeffrey Librett, Of the Sublime: Presence in Question (Albany: SUNY, 1993), "Sublime Truth", pp. 71-107 (R) Jonathan Crary, Suspensions of Perception: Attention, Spectacle & Modern Culture (Cambridge: MIT Press, 1999) *Julia Czerniak, "Challenging the Pictorial: Recent Landscape Practice", Assemblage 34 (December 1997), pp. 110-120 (R) Guy Debord, Society of the Spectacle (New York: Zone Books, 1994) (R) Eric Dluhosch & Rostislav Svacha, Karel Teige 1900-1951: L'Enfant Terrible of the Czech Modernist Avant-Garde (Cambridge, MA: MIT Press, 1999) David P. Jordan, Transforming Paris: The Life & Labors of Baron Haussmann (Chicago: University of Chicago Press, 1995) (R) Leslie van Duzer & Kent Kleinman, Villa Muller: A Work of Adolf Loos (New York: Princeton Architectural Press, 1994) *(R) Hal Foster, Compulsive Beauty [Surrealism] (Cambridge, MA: MIT Press, 1995), "Outmoded Spaces" (pp. 157-191), "Auratic Traces" (pp. 193-206) *Marco Frascari, "Architectural Traces of an Admirable Cipher: Eleven in the Opus of Carlo Scarpa" (www.nexusjournal.com/Frascari.html) Pontus Hulten (ed), Futurism & Futurisms (New York: Abbeville, 1986), "Futurist Manifesto [1909]", "Futurist Reconstruction of the Universe [1915]", "Nuove Tendenze (New Trends), exhibition (Milan, 1914)", "Sant'Elia: Manifesto of Futurist Architecture [1914]" Olof Hultin & Claes Caldenby (ed.), Asplund (New York: Rizzoli, 1986), "Landscape & Architecture" (Stuart Wrede), pp. 41-46 (R) Rosalind E. Krauss, Optical Unconscious (Cambridge: MIT Press, 1994) (R) __________, Originality of the Avant-Garde and Other Modernist Myths (Cambridge, MA: MIT Press, 1985) *__________ & Yve-Alain Bois, Formless: A User's Guide (Cambridge, MA: MIT Press, 1997), "Gestalt" (pp. 89-92), "Horizontality" (pp. 93-103), "Isotropy" (pp. 103-108) (R) Peter Krecic, Plecnik: The Complete Works (New York: Whitney Library of Design, 1993) *Helene Lipstadt & Harvey Mendelsohn, "Philosophy, History & Autobiography: Manfredo Tafuri & the 'Unsurpassed Lesson' of Le Corbusier", Assemblage 22 (December 1993), pp. 59-103 *Harry Francis Mallgrave & Eleftherios Ikonomu (ed.), Empathy, Form & Space: Problems in German Aesthetics 1873-1893 (Santa Monica, CA: Getty Center for the History of Art & the Humanities, 1994), "Prolegomena to a Psychology of Architecture" [Heinrich Wolfflin, 1886], pp. 149-187 Maurice Merleau-Ponty, The Visible & the Invisible (Evanston, IL: Northwestern University Press, 1973), "The Intertwining: The Chiasm", pp. 130-155 Esteve Morera, Gramsci's Historicism (New York: Routledge, 1990) (R) Nicholas Olsberg, George Ranalli et alia, Carlo Scarpa Architect: Intervening with History (New York/Montreal: Monacelli Press/Canadian Centre for Architecture, 1999), "Brion Family Tomb", pp. 125-151 (text & drawings), pp. 153-203 (photographs) (R) Sadie Plant, The Most Radical Gesture: The Situationist International in a Post-Modern Age (London/New York: Routledge, 1992) Edward Said, "Invention, Memory, & Place" [Geopoetics Issue], Critical Inquiry, Vol. 26, No. 2 (Winter 2000), pp. 175-192 (R) Manfredo Tafuri, Theories & History of Architecture, trans. Giorgio Verrecchia (New York: Harper & Row, 1980) *(R) __________, Sphere & the Labyrinth: Avant-Gardes & Architecture from Piranesi to the 1970s, trans. Pellegrino d'Acierno & Robert Connolly (Cambridge, MA: MIT Press, 1987), "Jefferson's Ashes" *(R) Karel Teige, Modern Architecture in Czechoslovakia, trans. Irena Zantovska Murray & David Britt (Los Angeles: Getty Research Institute, 2000), *"Adolf Loos" (pp. 115-140), "Cubism" (pp. 141-157), "Advent of Constructivism" (pp. 159-286) Dagmar Motycka Weston, "Surrealist Paris: The Non-Perspectival Space of the Lived City", Chora 2, Alberto Perez-Gomez (ed.) (Montreal: McGill-Queens University, 1996), pp. 149-178 Maurice Besset (text), Who Was Le Corbusier?, trans. Robin Kemball (Geneva: Skira, 1968), "From Architecture to Town-Planning", pp. 145-192 Bruno Zevi, "Landscape & the Zero Degree of Architectural Language", in L'Architettura XLIII/503-506 (Venice: Canal & Stamperia Editrice SRL, 1999), pp. 370-399 *** "The real value of Noguchi's art is explicitly revealed when we stop to consider how they fit into modern American architecture. Most probably, the deciding intention of Noguchi's art is the allowance of play of these irrational objects in the rational space of architecture. What is always uppermost in his heart is the question: How to meet Modern Civilization?" --Shuzo Takiguchi, Noguchi (Tokyo: Bijutsu Shuppan-sha, 1953) "With the first vision, the first contact, the first pleasure, there is initiation, that is, not the positing of a content, but the opening of a dimension that can never again be closed, the establishment of a level in terms of which every other experience will henceforth be situated. The idea is this level, this dimension ... an absolute invisible." --Merleau-Ponty, The Visible & the Invisible (Evanston, IL: Northwestern University Press, 1973) |
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