GSD Course Bulletin - Spring 2012

This term's information was last refreshed on 12 MAY 2015 14:53:34.

Courses taught by Erika Naginski

04122: Buildings, Texts, and Contexts II (HIS 0412200)

Lecture - 4 credits
Tuesday Thursday 10:00 - 11:30   Gund - Piper
Thursday 1:00 - 2:00   20 Sumner 1C
Thursday 2:00 - 3:00   20 Sumner 1C
Thursday 3:00 - 4:00   20 Sumner 1C
Thursday 5:00 - 6:00   20 Sumner 1C

Erika Naginski, Antoine Picon

Course Description

 Any account of architecture’s history over the course of the 18th and 19th centuries is faced with the challenge of addressing the general rupture caused by the rise of modernity—that is, by the social, economic, technological and ideological transformations accompanying the political and industrial revolutions marking the end of the European Enlightenment. The transition of architecture to the modern world gave rise to a series of fundamental questions, which might be framed as follows: How did historical conditions place pressure on the time-honored foundations of architecture, on its origins, theories, and pedagogies? How did new conditions of scientific possibility actively reconfigure architecture’s relation to engineering? And finally, how did aesthetic conceptions and approaches, which followed an arc from Beaux-Arts eclecticism and historicism to Modernist avant-gardes, intersect with society and politics?
This course weaves these questions through topics and themes ranging from technology and utopia to ornament and nationalism. We begin with late Baroque polemics and the academic foundations of architecture as discipline. We then consider the multifaceted nature of 18th-century architectural expressions insuch examples as Rococo space, origin theories from Laugier to Piranesi, and the formulation of building typologies. The 19th century, which for us is inaugurated by a utopian imaginary (in Ledoux and Fourier), covers key episodes such as the Beaux-Arts system in Europe and America, architecture and national identity (in Schinkel and Wagner), and, finally, the dream of colossal structures and the infrastructural programs of the modern metropolis. Course requirements include attendance at lectures and sections, responses to readings, and several written assignments.

One hour sections will take place on Thursday afternoon.

Courseware site (Canvas)

04432: Refolding the Baroque (HIS 0443200)

Seminar - 4 credits - Limited enrollment
Thursday 2:00 - 5:00   Gund 510

K. Michael Hays, Erika Naginski

Course Description

Misshapen pearl or postmodernist morphology? Stylistic category or generative design principle? Historically-grounded worldview or radical aesthetic credo? The panoply of Baroque concepts in architectural design and theory seems as much tied to the fact of the Baroque’s presumptive status as anti-modernist and anti-classical as to its apparent eclipse as a valid historical category. The Baroque remains, in the words of many a contemporary critic, a “historiographical monstrosity.” For more than a few theorists, the Baroque stands as a crucial point of focus both in poststructuralist thought and for those who inherited the interpretive models that such thought produced. While for those historians who increasingly favor the anodyne precision evoked by “the long seventeenth century,” the Baroque has become an unfashionable term all the while still signaling monarchical absolutism, Counter-reformation fervor, colonial expansion and Newtonian science.
Whether Baroque forms translate into curves and ellipses, infinite variability, cavernous effects, bombastic irregularities, the treatment of matter by aggregates, the rounding off of angles, the avoidance of straight lines, the tendency of matter to overflow beyond spatial boundaries and thereby aim at folds and fluidity-or, as Wölfflin lyrically once wrote, “the elaboration of a whorl that feeds endlessly on new turbulences”-the revitalized grammar of Baroque mentalities has set the stage for conditions of possibility whose semantic dimensions are only beginning to be assessed. With close readings of selected architectural projects and theoretical texts, this seminar will pursue such assessment.

Courseware site (Canvas)

09305: Master of Design Studies Final Project (ADV 0930500)

Architecture, Landscape Architecture, Urban Planning and Design
Independent Study - 8 credits

Neil Brenner, K. Michael Hays, Erika Naginski, Jeffrey Schnapp, Krzysztof Wodiczko, Sanford Kwinter

Course Description

The Final Project will consist of a theoretical/position component, and of a practical/experimental component. The scope of each of the two components will be determined according to the student's preference, and considering the specific character of the project in consultation with the area coordinator and the advisor. In exceptional cases the final project may be solely based on (expanded in scope and ambition) a theoretical component. A theoretical, written component is required for all final projects. The final project is equivalent to 8 units of coursework.

Theoretical/Position component

The theoretical argument must present the original methodology of the project and position it in relation to:

This component involves an original artistic/design project conceived, developed and presented as a public presentation, exhibition, installation, performance, action, and intervention in a physical or/and electronic space. The public presentation is a crucial part of the final project and is required. The Final Project's printed presentation as publishable document (that contains the theoretical argument and a graphic and textual presentation of the practical/experimental component)is also required.


Courseware site (Canvas)

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