This course will look at Modernism as an international movement in architecture and design. Beginning with a discussion of Modernism in the arts, the course will focus upon developments in architecture and design in Europe and North America between 1880 and 1920 (Jugendstil, Art Nouveau, Secession, etc.) Special attention will be paid to Gaudí and Modernisme in Barcelona, and several relevant field visits will be made. (3 credits)
Attendance policy:
Attendance is mandatory for all IES classes, including field studies. Any exams, tests, presentations, or other work missed due to student absences can only be rescheduled in cases of documented medical or family emergencies. If a student misses more than three classes in any course, half a letter grade will be deducted from the final grade for every additional absence. Seven absences in any course will result in a failing grade.
Learning outcomes:
By the end of the course, students are able to:
Recognize the main issues of Modernism in Architecture and Design, in the city of Barcelona and in other American and European cities.
Distinguish the features and ideas in Architecture and Design in Catalan, European and American contexts.
Identify relevant Architectural and Design issues through meaningful arguments.
Develop critical thinking towards Modernism in Barcelona, by comparing this with other European and American examples.
Prove their adaptation skills and to integrate their experience abroad into their own creative process.
Compare and contrast different works by different architects.
Outline the key concepts in Art Nouveau and explain them.
Method of presentation:
Discussions of required readings
Participation in class.
Midterm and final exams.
Research paper.
Discussions with classmates
Public oral defense of their paper
Field studies
Field study:
Montjuic; Caixaforum and the Mies Pavillion
La Sagrada Familia
Casa Milá. “La Pedrera”
Palau de La Música
Block of Discord. Passeig de Gràcia.
Required work and form of assessment:
Midterm exam (30%); Final exam (30%); Research paper (15%); Oral presentation (15%); Class participation (10%).
content:
Session 1: Introduction. Basic concepts to look at architecture and design.
Session 2: Changing times: social and cultural frame. The roots of modernism: England. The Design Reformers (Henry Cole, John Ruskin, William Morris). The Arts and Crafts. Greenhalgh, Paul, “The Style and the Age”, in Art Nouveau 1890-1914. Ed. Paul Greenhalgh. London: V&A Publications, 2000. (pp. 127-145).
Session 3: Modernism key concepts: nature, symbolism, literature, Japonisme, Arabesques. Greenhalgh, Paul, “The Style and the Age”, in Art Nouveau 1890-1914. Ed. Paul Greenhalgh. London: V&A Publications, 2000. (pp. 15-32).
Session 4: Barcelona a city in expansion. New political, social and cultural conditions: La Reinaxença. General characteristics of Modernism in comparison with contemporary European developments.
Hughes, Robert. Barcelona. London: Harvill, 1992. (pp. 343-373).
Session 5: Modernista architecture in Barcelona: Lluis Domènech i Montaner and Josep Puig I Cadafalch.
Hughes, Robert. Barcelona. London: Harvill, 1992. (pp. 395-411).
Session 6: Field study: Palau de la Música Catalana/Hospital de Sant Pau
Session 7: Field study: Block of Discord. Passeig de Gràcia.
Session 8: Antoni Gaudí: Main Themes in his works: medievalism, orientalism, catalanism, religion, nature, structure.
Hughes, Robert. Barcelona. London: Harvill, 1992. (pp. 464-477).
Session 9: Antoni Gaudí: Chronological survey of his main works (architecture and design).
Hughes, Robert. Barcelona. London: Harvill, 1992. (pp. 477-500)
Session 10: Antoni Gaudí: Chronological survey of his main works (architecture and design).
Hughes, Robert. Barcelona. London: Harvill, 1992. (pp. 500-541).
Session 11: Field study: La Sagrada Familia
Hensbergen, Gijs van. Gaudí. London: Harper Collins, 2001. (pp. 244-270)
Session 12: Field study: Casa Milá. “La Pedrera”
Hensbergen, Gijs van. Gaudí. London: Harper Collins, 2001. (pp 159-183)
Session 13: Other modernista architects and designers (Jujol, Martinell, Moncunill, Masriera, Homar…)
Session 14: Midterm exam
Session 15: Art Nouveau in France. Paris or the emergence of a modern style where new architectural solutions meet ornamental design: Hector Guimard. Nancy, or the beauty of the ornament: Émile Gallé Weisberg, Gabriel P. “The Parisian Situation: Hector Guimard and the Emergence of Art Nouveau”, in Art Nouveau 1890-1914. Ed. Paul Greenhalgh. London: V&A Publications, 2000. (pp. 265-273).
Session 16: Art Nouveau in Belgium. Architecture: Victor Horta. In search of a total “work of art”: Henri Van de Velde
Aubry, Françoise. “Victor Horta and Brussels”, in Art Nouveau 1890-1914. Ed. Paul Greenhalgh. London: V&A Publications, 2000. (pp. 275-285).
Session 17: Glasgow Style: the triumph of geometry. Charles Rennie Mackintosh.
Schama, Simon. “The Trellis and the Rose”, in The New Yorker, December 16, 1996. (pp. 110-114).
Session 18: Art Nouveau architecture in America: Louis H. Sullivan, between nature and modernity. Art Nouveau design and decorative arts in America: Louis Comfort Tiffany.
Cooney Frelinghuysen, Alice. “Louis Comfort Tiffany and New York”, in Art Nouveau 1890-1914. Ed. Paul Greenhalgh. London: V&A Publications, 2000. (pp. 398-411).
Session 19: Munich’s cultural modernization: Secession and Jugendstil. The move fron the ornamental concern to functionalism: the Deutscher Werkbund. Darmstadt artists colony.
Naylor, Gillian. “Munich: Secession and Jugendstil”, in Art Nouveau 1890-1914. Ed. Paul Greenhalgh. London: V&A Publications, 2000. (pp. 286-297).
Session 20: Secession in Viena: free art, modern art. Architecture: Otto Wagner, Joseph Maria Olbrich, Joseph Hoffmann. Adolf Loos. Vienese Secession design: The Wiener Werkstätte. Palais Stoclet.
Vergo, Peter. Art in Vienna 1898-1918. London: Phaidon Press, 1975. (pp. 132-142).
Session 21: Field study: Montjuic; Caixaforum and the Mies Pavillion
Session 22: Class presentations
Session 23: Class presentations
Session 24: Class presentations
Required readings:
Aubry, Françoise. “Victor Horta and Brussels”, in Art Nouveau 1890-1914. Ed. Paul Greenhalgh. London: V&A Publications, 2000. (pp. 275-285).
Cooney Frelinghuysen, Alice. “Louis Comfort Tiffany and New York”, in Art Nouveau 1890-1914. Ed. Paul Greenhalgh. London: V&A Publications, 2000. (pp. 398-411).
Greenhalgh, Paul, “The Style and the Age”, in Art Nouveau 1890-1914. Ed. Paul Greenhalgh. London: V&A Publications, 2000. (pp. 15-32).
Greenhalgh, Paul, “Le Style Anglais: English Roots of the New Art”, in Art Nouveau 1890-1914. Ed. Paul Greenhalgh. London: V&A Publications, 2000. (pp. 127-145).
Hensbergen, Gijs van. Gaudí. London: Harper Collins, 2001. (pp. 244-270) and (pp. 159-183).
Naylor, Gillian. “Munich: Secession and Jugendstil”, in Art Nouveau 1890-1914. Ed. Paul Greenhalgh. London: V&A Publications, 2000. (pp. 286-297).
Schama, Simon. “The Trellis and the Rose”, in The New Yorker, December 16, 1996. (pp. 110-114).
Vergo, Peter. Art in Vienna 1898-1918. London: Phaidon Press, 1975. (pp. 132-142).
Weisberg, Gabriel P. “The Parisian Situation: Hector Guimard and the Emergence of Art Nouveau”, in Art Nouveau 1890-1914. Ed. Paul Greenhalgh. London: V&A Publications, 2000. (pp. 265-273).
Recommended readings:
Duncan, Alastair. Art Nouveau. London: Thames and Hudson, 1994.
Pevsner, Nikolaus. Pioneers of Modern Design: from William Morris to Walter Gropius. Rev. Ed. London: Penguin, 1960.
Modernism In Architecture And Design In A Comparative Perspective
This course will look at Modernism as an international movement in architecture and design. Beginning with a discussion of Modernism in the arts, the course will focus upon developments in architecture and design in Europe and North America between 1880 and 1920 (Jugendstil, Art Nouveau, Secession, etc.) Special attention will be paid to Gaudí and Modernisme in Barcelona, and several relevant field visits will be made. (3 credits)
Attendance is mandatory for all IES classes, including field studies. Any exams, tests, presentations, or other work missed due to student absences can only be rescheduled in cases of documented medical or family emergencies. If a student misses more than three classes in any course, half a letter grade will be deducted from the final grade for every additional absence. Seven absences in any course will result in a failing grade.
By the end of the course, students are able to:
Montjuic; Caixaforum and the Mies Pavillion
La Sagrada Familia
Casa Milá. “La Pedrera”
Palau de La Música
Block of Discord. Passeig de Gràcia.
Midterm exam (30%); Final exam (30%); Research paper (15%); Oral presentation (15%); Class participation (10%).
Session 1: Introduction. Basic concepts to look at architecture and design.
Session 2: Changing times: social and cultural frame. The roots of modernism: England. The Design Reformers (Henry Cole, John Ruskin, William Morris). The Arts and Crafts. Greenhalgh, Paul, “The Style and the Age”, in Art Nouveau 1890-1914. Ed. Paul Greenhalgh. London: V&A Publications, 2000. (pp. 127-145).
Session 3: Modernism key concepts: nature, symbolism, literature, Japonisme, Arabesques. Greenhalgh, Paul, “The Style and the Age”, in Art Nouveau 1890-1914. Ed. Paul Greenhalgh. London: V&A Publications, 2000. (pp. 15-32).
Session 4: Barcelona a city in expansion. New political, social and cultural conditions: La Reinaxença. General characteristics of Modernism in comparison with contemporary European developments.
Hughes, Robert. Barcelona. London: Harvill, 1992. (pp. 343-373).
Session 5: Modernista architecture in Barcelona: Lluis Domènech i Montaner and Josep Puig I Cadafalch.
Hughes, Robert. Barcelona. London: Harvill, 1992. (pp. 395-411).
Session 6: Field study: Palau de la Música Catalana/Hospital de Sant Pau
Session 7: Field study: Block of Discord. Passeig de Gràcia.
Session 8: Antoni Gaudí: Main Themes in his works: medievalism, orientalism, catalanism, religion, nature, structure.
Hughes, Robert. Barcelona. London: Harvill, 1992. (pp. 464-477).
Session 9: Antoni Gaudí: Chronological survey of his main works (architecture and design).
Hughes, Robert. Barcelona. London: Harvill, 1992. (pp. 477-500)
Session 10: Antoni Gaudí: Chronological survey of his main works (architecture and design).
Hughes, Robert. Barcelona. London: Harvill, 1992. (pp. 500-541).
Session 11: Field study: La Sagrada Familia
Hensbergen, Gijs van. Gaudí. London: Harper Collins, 2001. (pp. 244-270)
Session 12: Field study: Casa Milá. “La Pedrera”
Hensbergen, Gijs van. Gaudí. London: Harper Collins, 2001. (pp 159-183)
Session 13: Other modernista architects and designers (Jujol, Martinell, Moncunill, Masriera, Homar…)
Session 14: Midterm exam
Session 15: Art Nouveau in France. Paris or the emergence of a modern style where new architectural solutions meet ornamental design: Hector Guimard. Nancy, or the beauty of the ornament: Émile Gallé Weisberg, Gabriel P. “The Parisian Situation: Hector Guimard and the Emergence of Art Nouveau”, in Art Nouveau 1890-1914. Ed. Paul Greenhalgh. London: V&A Publications, 2000. (pp. 265-273).
Session 16: Art Nouveau in Belgium. Architecture: Victor Horta. In search of a total “work of art”: Henri Van de Velde
Aubry, Françoise. “Victor Horta and Brussels”, in Art Nouveau 1890-1914. Ed. Paul Greenhalgh. London: V&A Publications, 2000. (pp. 275-285).
Session 17: Glasgow Style: the triumph of geometry. Charles Rennie Mackintosh.
Schama, Simon. “The Trellis and the Rose”, in The New Yorker, December 16, 1996. (pp. 110-114).
Session 18: Art Nouveau architecture in America: Louis H. Sullivan, between nature and modernity. Art Nouveau design and decorative arts in America: Louis Comfort Tiffany.
Cooney Frelinghuysen, Alice. “Louis Comfort Tiffany and New York”, in Art Nouveau 1890-1914. Ed. Paul Greenhalgh. London: V&A Publications, 2000. (pp. 398-411).
Session 19: Munich’s cultural modernization: Secession and Jugendstil. The move fron the ornamental concern to functionalism: the Deutscher Werkbund. Darmstadt artists colony.
Naylor, Gillian. “Munich: Secession and Jugendstil”, in Art Nouveau 1890-1914. Ed. Paul Greenhalgh. London: V&A Publications, 2000. (pp. 286-297).
Session 20: Secession in Viena: free art, modern art. Architecture: Otto Wagner, Joseph Maria Olbrich, Joseph Hoffmann. Adolf Loos. Vienese Secession design: The Wiener Werkstätte. Palais Stoclet.
Vergo, Peter. Art in Vienna 1898-1918. London: Phaidon Press, 1975. (pp. 132-142).
Session 21: Field study: Montjuic; Caixaforum and the Mies Pavillion
Session 22: Class presentations
Session 23: Class presentations
Session 24: Class presentations
Aubry, Françoise. “Victor Horta and Brussels”, in Art Nouveau 1890-1914. Ed. Paul Greenhalgh. London: V&A Publications, 2000. (pp. 275-285).
Cooney Frelinghuysen, Alice. “Louis Comfort Tiffany and New York”, in Art Nouveau 1890-1914. Ed. Paul Greenhalgh. London: V&A Publications, 2000. (pp. 398-411).
Greenhalgh, Paul, “The Style and the Age”, in Art Nouveau 1890-1914. Ed. Paul Greenhalgh. London: V&A Publications, 2000. (pp. 15-32).
Greenhalgh, Paul, “Le Style Anglais: English Roots of the New Art”, in Art Nouveau 1890-1914. Ed. Paul Greenhalgh. London: V&A Publications, 2000. (pp. 127-145).
Hensbergen, Gijs van. Gaudí. London: Harper Collins, 2001. (pp. 244-270) and (pp. 159-183).
Hughes, Robert. Barcelona. London: Harvill, 1992. (pp. 343-373), (pp. 395-411) and (pp.464-541).
Naylor, Gillian. “Munich: Secession and Jugendstil”, in Art Nouveau 1890-1914. Ed. Paul Greenhalgh. London: V&A Publications, 2000. (pp. 286-297).
Schama, Simon. “The Trellis and the Rose”, in The New Yorker, December 16, 1996. (pp. 110-114).
Vergo, Peter. Art in Vienna 1898-1918. London: Phaidon Press, 1975. (pp. 132-142).
Weisberg, Gabriel P. “The Parisian Situation: Hector Guimard and the Emergence of Art Nouveau”, in Art Nouveau 1890-1914. Ed. Paul Greenhalgh. London: V&A Publications, 2000. (pp. 265-273).
Duncan, Alastair. Art Nouveau. London: Thames and Hudson, 1994.
Pevsner, Nikolaus. Pioneers of Modern Design: from William Morris to Walter Gropius. Rev. Ed. London: Penguin, 1960.