Faculty Handbook
Appendix I
Sample Syllabus
RENAISSANCE TO MODERN ARCHITECTURE
Art History 202 Dr. Craig Zabel
Spring 2005 Office: 223 Arts Building
10:10-11:00 MWF 865-6326, cxz3@psu.edu
10 Sparks Office Hours: 11:15-12:15 MW
& by appointment
Art History 202 is an introduction to Western architecture from approximately 1400 to the present. The course will explore architecture from the Renaissance, Baroque, Rococo, Romantic, Victorian, Modern, Postmodern, and Contemporary periods, in primarily Europe and the United States. Selected major architects, ideas, buildings and urban developments will be emphasized. Architecture will be considered within the contexts of religion, politics, philosophy, culture, economics, gender, society, technology, engineering, landscape architecture, urban planning and interior design. This course has no prerequisite and is intended for both students of architecture and students unfamiliar with the field.
TEACHING ASSISTANTS:
Matthew Fenner mpf149@psu.edu
Alissa Walls Mazow aaw134@psu.edu
Leanne Rinne ldr145@psu.edu
Eith Toth ezt105@psu.edu
Teaching Assistants’ Office: 236 Arts Building, 865-0302
COURSE CALENDAR:
January 28 Quiz 1
February 14 Quiz 2
February 16 Exam I
March 4 Quiz 3
March 28 Quiz 4
March 30 Exam II
April 15 Quiz 5
April 18 Term Paper Due
April 29 Quiz 6
May 2-6 Final Exam (date and time to be announced)
TEXTBOOK:
The following required textbooks are available for purchase:
Marvin Trachtenberg and Isabelle Hyman, Architecture: From Prehistory to Postmodernity (2nd edition, 2002).
Fil Hearn, Ideas That Shaped Buildings (2003).
Reading assignments will be made in class when outlines are handed out.
RESERVE BOOK LIST:
The required textbook has been placed on reserve in the Architecture Library (207 Engineering Unit C), along with the following recommended books:
a) selected architectural histories:
Kostof, Spiro. A History of Architecture: Settings and Rituals.
Kostof, Spiro, ed. The Architect: Chapters in the History of the Profession.
Kruft, H.-W., A History of Architectural Theory from Vitruvius to the Present.
Girouard, Mark. Cities and People: A Social and Architectural History.
Pevsner, N. A History of Building Types.
Murray, P. The Architecture of the Italian Renaissance.
Wittkower, R. Architectural Principles in the Age of Humanism.
Varriano, J. Italian Baroque and Rococo Architecture.
Blunt, A., ed. Baroque & Rococo: Architecture & Decoration.
Upton, D. Architecture in the United States.
Bergdoll, B. European Architecture 1750-1890.
Curtis, W. Modern Architecture since 1900.
Jencks, C. The New Paradigm in Architecture: The Language of Post-Modernism.
b) selected architectural writings:
Vitruvius. Vitruvius: Ten Books on Architecture
Alberti, L. B. On the Art of Building in Ten Books.
Serlio, S. The Five Books of Architecture.
Palladio, A. The Four Books on Architecture.
Laugier, M.A. An Essay on Architecture.
Pugin, A.W.N., Contrasts.
Downing, A.J. Victorian Cottage Residences.
Beecher, C., & H.B. Stowe. The American Woman’s Home.
Viollet-le-Duc, E.-E. Discourses on Architecture.
Ruskin, J. The Seven Lamps of Architecture.
Ruskin, J. The Stones of Venice.
Sullivan, L. Kindergarten Chats and Other Writings.
Wright, F.L. Studies and Executed Buildings=Ausgeführte Bauten und Entwürfe
Conrads, U. Programs and Manifestoes on 20th-Century Architecture.
Le Corbusier. Towards a New Architecture.
Hitchcock and Johnson. The International Style
Venturi, R. Complexity and Contradiction in Architecture.
Venturi, Scott Brown & Izenour. Learning from Las Vegas.
Koolhaas & Mau. S,M,L,XL.
c) selected Pennsylvania architectural histories:
Gallery, J. A. Philadelphia Architecture: A Guide to the City.
Morrone, Francis. An Architectural Guidebook to Philadelphia.
Paris, L.W. “Frederick L. Olds and the Early Buildings of Penn State.”
Pitluga, K. “Charles Z. Klauder at Penn State: The Image of the University.”
Zabel, C. Palmer Museum of Art: A New Building . . .
Ramsey, G., et al. Historic Buildings of Centre County, Pennsylvania.
Toker, F. Pittsburgh: An Urban Portrait.
Kidney, W. Pittsburgh’s Landmark Architecture.
COURSE WEB SITE:
The password-protected course Web site is:
http://www.courses.psu.edu/arth/arth202_cxz3/
All students are expected to access this Web site on a regular basis.
COURSE GRADE:
Your final course grade will be calculated in the following manner:
Best 5 of 6 quizzes 20%
Exam I 20%
Exam II 20%
Final Exam 25%
Term Paper 15%
QUIZZES:
There will be six quizzes. Your five highest scores will count towards your final course grade. In other words, your lowest score, or a single missed quiz, will be dropped. Each quiz will consist of ten slides of buildings. For each building you will be asked to identify the following:
1. architect(s)
2. name of building
3. location (city and state for buildings in the U.S.;
city and country for buildings outside the U.S.)
- date (within 25 years)
[for buildings before 1400, the century is fine]
The buildings that you will be responsible for will be listed on the outlines (handed out periodically during the semester). You are responsible for all illustrations of these buildings in Trachtenberg/Hyman and on the course web site.
EXAMINATIONS:
There will be two exams during the semester and a final exam. While the quizzes test your ability to identify buildings, the emphasis of the exams will be on discussing, in an essay format, the significance of individual buildings and their architects, as well as the broader themes of the course. You will also be asked to define key terms. The format of each exam will be discussed in class prior to the test. The final exam will include a comprehensive essay question. For each exam, please bring a blue book.
TERM PAPER ASSIGNMENT:
General Guidelines:
The length of the paper should be about three to five pages of text. The paper must be typed (double spaced and pages numbered). Adequate library research is expected on all papers. Research on the internet can be very helpful, but should not be the only research done. Any information derived from research must be properly documented with footnotes (or endnotes) and a bibliography. Your footnotes and bibliography must follow a standard format. One highly recommended manual is Kate L. Turabian's A Manual for Writers of Term Papers, Theses, and Dissertations (available in many bookstores and at Pattee). Any illustrations (photocopies, photographs, postcards, and/or drawings) must be numbered, captioned, and referred to in your text. You must also acknowledge the sources of your illustrations (in the captions or on a separate sheet). The term paper is due at 10:10 a.m., April 18. A term paper that is late for a reason that is not approved will be reduced 10 points (one letter grade) and will not be accepted after April 29.
You may choose Option A orOption B for your term paper. You are encouraged to discuss your topic and approach to the assignment with Dr. Zabel or one of the Teaching Assistants.
Term Paper--Option A:
You will critique a building from the point of view of an architect unrelated to the building’s design. The building that you will critique should be a real structure built in America or Europe after 1400 (it would be helpful to choose a building that you can visit during the semester or are familiar with from a past visit; do not choose a building that you have written on for other classes). For the purposes of this critique, you will take on the role of an architect who lived before the building was designed (choose a real European or American architect who lived after 1400). Through some miracle of time travel, you now stand before your chosen building. Your task is to critique the building according to the architectural values of your chosen architect.
Possible examples are:
- Alberti critiquing Old Main at Penn State
- Michelangelo critiquing Sir Christopher Wren’s St. Paul’s Cathedral in London
- Palladio critiquing Frank Lloyd Wright’s Fallingwater
- Borromini critiquing Frank Gehry’s Guggenheim Museum in Bilbao, Spain
- Thomas Jefferson critiquing Pattee Library at Penn State
- Louis I. Kahn critiquing Penn State’s Palmer Museum of Art
- Minoru Yamasaki critiquing Daniel Libeskind’s project to rebuild the World Trade Center site in New York
In your critique, you should take on the voice, values, attitudes, and architectural beliefs of your critiquing architect. What aspects of your chosen building do you think your critiquing architect would appreciate and praise? What aspects would he/she criticize? Consider such issues (when relevant) as style, ornament, symbolism, site, relationship to context (natural and built), massing, scale, materials, structure, organization of interior spaces, etc. You may write in the first person.
You are expected to research both your chosen building and your critiquing architect. The books on reserve are a good place to start. Become as well informed as possible as to the architectural beliefs/values of your critiquing architect. The point of this paper is to write your own creative essay from a well-informed perspective, not to produce a digest of what others have written about related matters. Include illustrations of your chosen building and any comparisons.
Term Paper--Option B:
In an essay, create an imaginary building during any period from 1400 to 2005 and locate it somewhere in Europe or the United States. This flight into historical fiction will assess your ability to display your depth of understanding of the historical forces that shaped Western architecture after 1400. Since drawings are often an important tool in architectural history, you must draw and include at least the main floor plan and an exterior view (an elevation or perspective rendering) of your building. Your drawings will not be graded; you will only be graded on the content of your essay. However, please feel free, if you choose, to more fully illustrate your building with more drawings (by hand or CAD) or even a model. However, all papers must include one plan and one exterior view of your building. I would suggest that novice draftsmen/draftswomen use graph paper.
Your imaginary building may come from any time and place in the history of Western architecture, after 1400. Potential topics might include a tomb for a Renaissance pope in Rome, a Spanish mission in New Mexico, a pleasure pavilion for King Louis XIV in the gardens of Versailles, an iron foundry complex with workers’ housing in late eighteenth-century England, a visionary skyscraper designed by Frank Lloyd Wright for Chicago in 1893, the ideal American suburban home as designed by a woman architect in 1950, a Deconstructivist monument dedicated to the end of communism in Moscow’s Red Square in the 1990s. (Do not use a design that you may have developed for another class).
You should write an essay that describes your building with clarity. What are the historical, political, religious, economic, social and/or cultural forces that brought your building into existence? Who is the client of your building and how are her/his desires realized? Where is the site of your building, why was it chosen, and how does your building relate to its context? How does the building fit into the broader development of architectural history? What architectural styles, ideas, movements, and/or trends influenced the design? Depending on what is appropriate for your particular building, you may choose to dwell upon all or some of the following: function, massing, scale, structure, materials, technology, interior spaces, lighting, aesthetics, ornament, symbolism, etc.
You are expected to research those topics that will strengthen your discussion. The books on reserve are a good place to start. Strive to familiarize yourself with the historical context of the time, place, and building type that you have selected. You may choose to have your imaginary building designed by a real architect and/or be built for a real individual in history. If this is the case, then doing research into the life and architectural interests of the architect and/or client will be very helpful. If your architect or client is fictional, then he/she needs to be plausible in relation to history. The point of this paper is to write your own creative essay from a well-informed perspective, not to produce a digest of what others have written about related matters. Feel free to supplement your discussion with illustrations (photocopies) of buildings with which you are comparing your imaginary building. Also, the location of your building needs to be made clear through a verbal description and by including a site plan or map (your own drawing or a photocopy with at least an "X" on it).
STUDENT'S RESPONSIBILITIES:
Regular class attendance is expected and is a necessity for a proper understanding of the course material. Students arriving late to class or leaving early are disruptive. Common courtesy is expected. Personal conversations in the audience can only detract from the experience for all.
Along with writing the term paper and taking the quizzes and exams, you should keep up with the assigned readings as the material is covered in class. You should also study the assigned illustrations in the textbook and on the course Web site more than once a week.
A quiz or exam missed for a legitimate personal reason can be made up. Likewise, a term paper may be handed in late without penalty for a legitimate personal reason. Dr. Zabel will be the judge of what is legitimate, such as a serious illness, a family emergency, or a job interview. To schedule a make-up quiz or exam, please contact Dr. Zabel or a teaching assistant by the next class period. A missed quiz or exam that is not made up will be given a zero. A term paper that is late for a reason that is not approved will be penalized (see page 3).
A quiz or exam may be missed and made up for an acceptable academic reason, such as a field trip, conflict with a major design jury, etc. However, in this circumstance, the permission must be granted in advance and will only be given if the professor whose assigned activity that has created the situation writes Dr. Zabel a letter or e-mail explaining the circumstances of the conflict and lists the name(s) of the student(s) involved.
DEPARTMENT OF ART HISTORY’S ACADEMIC INTEGRITY STATEMENT
Academic integrity is a fundamental principle underlying all scholarly work, and a necessity for the creation of an honest and positive learning environment. Accordingly, adherence to the basic precepts of academic integrity is expected in all student work. The dishonest representation of someone else’s work as your own (i.e. cheating, plagiarism) will not be tolerated, nor will acts of deception or falsification. Acknowledgment in your written work of information, points of view, and quotes taken from other sources should always be made through appropriate references (i.e. footnotes, bibliography). Violations of academic integrity will be dealt with in accordance with the policies of the University.
EARLY RENAISSANCE IN ITALY (all dates are A.D., unless B.C. is noted)
{Reading in Trachtenberg/Hyman [T/H]: pp. 49-53, 268-294; Hearn, pp. ix-xiv, 1-5, 39-52, 79-127, 161-176}
Filippo Brunelleschi: Dome, Florence Cathedral (Florence, Italy), 1420-36.
{Pantheon (Rome, Italy), 2nd century.}
Brunelleschi: San Lorenzo (Florence, Italy), begun 1421-25.
{Old St. Peter’s (Rome, Italy), 4th century.}
{Chartres Cathedral (Chartres, France), 12th-13th centuries.}
{Ictinus and Callicrates: Parthenon (Athens, Greece), 5th century B.C.}
{Temple of Fortuna Virilis [Temple of Portunus] (Rome, Italy), 2nd century B.C.}
Vitruvius: Ten Books on Architecture, 1st century B.C.
Leonardo da Vinci: Vitruvian Man, c. 1490.
Leon Battista Alberti: On the Art of Building in Ten Books, 1452.
Alberti: Sant’ Andrea (Mantua, Italy), begun 1472.
{Arch of Constantine (Rome, Italy), 4th century.}
{Basilica of Maxentius and Constantine (Rome, Italy), 4th century.}
Michelozzo di Bartolomeo: Palazzo Medici (Florence, Italy), begun c. 1445.
{Arnolfo di Cambio[?]: Palazzo Vecchio (Florence, Italy), 14th century.}
Alberti: Palazzo Rucellai (Florence, Italy), begun c.1457.
{Colosseum (Rome, Italy), 1st century}
Giuliano da Sangallo: Villa Medici (Poggio a Caiano, Italy), c. 1485.
Perugino: Christ Delivering the Keys to St. Peter, fresco in Sistine Chapel,
Vatican (Rome, Italy), 1481-83.
Terms:(many of these terms are in the Trachtenberg/Hyman’s Glossary, pp. 583 -589)
medieval (Middle Ages)
Renaissance
Humanism
Lorenzo Ghiberti
Baptistery
Campanile
Duomo
post and lintel
trabeated
arch
arcade
arcuated
pier
voussoir
keystone
barrel vault
groin vault
dome
rotunda
oculus
coffer
niche
drum
lantern
basilica
Constantine the Great
Early Christian
martyrium
atrium
narthex
nave
aisle
transept
apse
clerestory
Latin cross
Greek cross
baldacchino
Gothic
pointed arch
ribbed vault
flying buttress
column
colonnade
intercolumniation
gable
pediment
portico
cella
firmitas
utilitas
venustas
Classicism
Greek Doric order
base
shaft
fluting
entasis
capital
entablature
architrave
frieze
cornice
metope
triglyph
Ionic order
volute
engaged column
Corinthian order
acanthus leaves
pilaster
attic story
Tuscan order
Roman Doric order
Composite order
Colossal order
linear perspective
vanishing point
pietra serena
sail vault
triumphal arch
palazzo
piazza
loggia
rustication
stringcourse
bifora window
colonnette
machicolation
battlement
Cosimo de’Medici
tripartite
ashlar
piano nobile
cortile
villa
hipped roof
quo
HIGH RENAISSANCE AND MANNERISM IN ITALY
{T/H: pp. 294-319; Hearn: pp. 5-8, 53-56, 127-133, 139-156}
Donato Bramante:
Tempietto at San Pietro in Montorio (Rome, Italy), 1502.
St. Peter’s (Rome, Italy), 1506-14.
Sebastiano Serlio: The Five Books of Architecture, 1537-47, 1584.
Giulio Romano: Palazzo del Tè (Mantua, Italy), 1527-34.
Michelangelo: Campidoglio (Rome, Italy), begun 1538.
St. Peter’s (Rome, Italy):
Antonio da Sangallo the Younger, project, 1539-46.
Michelangelo, final design, 1547-64 (dome completed by Giacomo della Porta, 1590).
Andrea Palladio:
Villa Rotonda (Vicenza, Italy), begun1566.
Four Books on Architecture, 1570.
BAROQUE ROME AND TURIN
{T/H: pp. 326-348, Hearn: pp. 157-159}
Pope Sixtus V and Domenico Fontana: Plan for Rome, Italy, 1585-90. [Piazza del Popolo]
Giacomo Barozzi da Vignola: Il Gesù (Rome, Italy), begun 1568; façade by Giacomo della Porta, 1575-84.
St. Peter’s (Rome, Italy):
façade and nave, by Carlo Maderno, 1606-15.
baldacchino, by Gianlorenzo Bernini, 1624-33.
piazza and colonnades, by Bernini, begun 1656.
Gianlorenzo Bernini: Fountain of the Four Rivers, Piazza Navona (Rome, Italy), 1648-51.
Francesco Borromini: Sant’ Ivo della Sapienza (Rome, Italy), 1643-48.
Gaulli and Raggi: The Adoration of the Name of Jesus, nave ceiling of Il Gesù (Rome, Italy), 1669-83.
Guarino Guarini: Cappella SS. Sindone [Chapel of the Holy Shroud], Cathedral (Turin, Italy), 1667-90.
SPAIN AND THE NEW WORLD
{T/H: pp. 323-325, 365-366}
Juan Bautista de Toledo and Juan de Herrera: Escorial (near Madrid, Spain), 1563-82.
Ignacio Daza: Castillo de San Marcos (St. Augustine, Florida),1672-95 (remodeled 1738-56).
Taos Pueblo (Taos, New Mexico), 16th century.
Mission San Estevan (Acoma, New Mexico), c. 1629-42.
Mission San José y San Miguel de Aguayo (San Antonio, Texas), 1768-77.
RENAISSANCE, BAROQUE AND ROCOCO ARCHITECTURE NORTH OF THE ALPS
{T/H: pp. 319-323, 348-365}
Château de Chambord (Chambord, France), begun 1519.
Pierre Lescot: Square Court of the Louvre (Paris, France), begun 1546.
Bernini: East Front of the Louvre, projects (Paris, France), 1664-65.
Le Vau & Le Brun & Perrault: East Front of the Louvre (Paris, France), 1667-70.
Palace of Versailles (Versailles, France):
architects: Louis Le Vau and Jules Hardouin-Mansart, mostly built 1668-1710;
park and gardens by André Le Nôtre, begun 1660.
Germain Boffrand: oval salon of the Hôtel de Soubise (Paris, France), 1735-40.
Bartolomeo Rastrelli: Catherine Palace (Tsarkoe Selo, Russia), 1748-56.
Johann Balthasar Neumann: Vierzehnheiligen (near Staffelstein, Germany), begun 1743.
Hendrick de Keyser: Westerkerk (Amsterdam, The Netherlands), 1620-31.
Elias Bouman: Portuguese Synagogue (Amsterdam, The Netherlands), 1671-75.
Synagogue (Volpa, Belarus), early 18th century.
JACOBEAN TO PALLADIAN ARCHITECTURE IN ENGLAND AND AMERICA
{T/H: pp. 366-371, 377-380}
Hatfield House (Hertfordshire, England), 1607-11.
Inigo Jones: Banqueting House at Whitehall Palace (London, England), 1619-22.
Old Ship Meetinghouse (Hingham, Massachusetts), 1681, additions 1731, 1755.
Sir Christopher Wren: St. Stephen’s, Walbrook (London, England), 1672-79.
Sir John Vanbrugh and Nicholas Hawksmoor: Blenheim Palace (Woodstock, England), 1705-22.
Lord Burlington [Richard Boyle]: Chiswick Villa (near London [Chiswick], England), 1725.
Thomas Jefferson: Monticello (near Charlottesville, Virginia), 1768-82, 1796-1809.
Slave Cabin “S” at Monticello (near Charlottesville, Virginia), 1792-93.
ROMANTICISM: NEOCLASSICISM AND THE GOTHIC REVIVAL
{T/H: pp. 375-377, 380-414, 418-427, 437-439; Hearn: pp. 8-12, 57-59, 134-135, 177-181, 193-199}
Henry Flitcroft and Henry Hoare: Stourhead Park (Wiltshire, England), 1746-65.
Abbé Laugier, Essai sur l'architecture, 1753.
James Stuart and Nicholas Revett: The Antiquities of Athens, 1762-1816.
Giambattista Piranesi:
Views of Rome: Forum Romanum, begun c. 1749.
Prisons [Carceri], begun c. 1744.
François Barbier: House for Racine de Monville (Désert de Retz, France), 1774-85.
Claude-Nicolas Ledoux: Inspector’s House at the Source of the Loue, project, c. 1785.
Étienne-Louis Boullée: Newton’s Cenotaph, project, 1783.
J.-F.-T. Chalgrin: Arc de Triomphe (Paris, France), 1806-36.
Karl Friedrich Schinkel:
Gothic Cathedral, 1813.
Altes Museum (Berlin, Germany), 1824-28.
Court Gardener’s House, Schloss Charlottenhof (Potsdam, Germany), 1829-36.
Sir John Soane: Sir John Soane’s Museum (London, England), 1792-1824.
Thomas Jefferson: University of Virginia (Charlottesville, Virginia), 1817-26.
Thomas Cole: The Architect's Dream, 1840.
James Wyatt: Fonthill Abbey [for William Beckford] (Wiltshire, England), 1795-1807.
John Nash: Royal Pavilion (Brighton, England), 1815-23.
Augustus Welby Northmore Pugin: Contrasts, 1841.
Sir Charles Barry & A.W.N. Pugin: Houses of Parliament (London, England), 1836-c.1860
John Haviland: Eastern State Penitentiary (Philadelphia, Pennsylvania), 1823-25.
A. J. Downing: "Cottage in the English or Rural Gothic Style," Cottage Residences, 1842.
Catharine Beecher & Harriet Beecher Stowe: The American Woman's Home, 1869.
THE INDUSTRIAL REVOLUTION
{T/H: pp. 415-418, 443-462}
Abraham Darby III and T.F. Pritchard: Iron Bridge over the Severn (Coalbrookdale, England), 1777-79.
Sir Joseph Paxton: Crystal Palace (London, England), 1851.
John Gaynor: Haughwout Store (New York, New York), 1856. [iron manufactured by Daniel Badger]
Elisha Graves Otis: demonstration of first safe passenger elevator (New York, New York), 1854.
John Roebling & Washington Roebling: Brooklyn Bridge (New York, New York), 1867-83.
Sir Benjamin Baker and Sir John Fowler: Forth Bridge (Firth of Forth, Scotland), 1882-89.
BEAUX-ARTS AND VICTORIAN ARCHITECTURE
{T/H: pp. 427-437, 439-443, 466-480; Hearn: pp. 12-15, 60-70, 181-191, 199-202, 223-238, 255-260, 271-278, 281-288}
Baron G.-E. Haussmann: Plan of Paris, France, 1853 -870.
Charles Garnier: The Opera (Paris, France), 1861-75.
E.-E. Viollet-le-Duc: Concert Hall for 3000, Discourses on Architecture, 1863-72.
John Ruskin:
“Ornaments from Rouen, St. Lo, and Venice,” The Seven Lamps of Architecture, 1849.
“Ducal Palace,” The Stones of Venice, 1851-53.
Philip Webb: Red House [for William Morris] (Bexley Heath, England), 1859-60.
Morris & Co.: Pimpernel wallpaper, 1876.
Furness & Hewitt: Pennsylvania Academy of the Fine Arts (Philadelphia, Pa.), 1871-76.
John McArthur, Jr.: Philadelphia City Hall (Philadelphia, Pennsylvania), 1869-1901.
Henry Hobson Richardson: Allegheny County Courthouse and Jail (Pittsburgh, Pa.), 1883-88.
Burnham & Root: Monadnock Building (Chicago, Illinois), 1889-91.
Louis H. Sullivan: Carson Pirie Scott Store (Chicago, Illinois), 1899-1904.
D.H. Burnham (Director of Works): World's Columbian Exposition (Chicago, Illinois), 1893.
ART NOUVEAU TO CONSTRUCTIVISM
{T/H: pp. 462-466, 480-497; Hearn: pp. 71-75, 260-265, 279-280}
Gustave Eiffel: Eiffel Tower, Exposition Universelle (Paris, France), 1887-89.
Victor Horta: Tassel House (Brussels, Belgium), 1892-93.
Antoni Gaudí: Casa Milà (Barcelona, Spain), 1905-10.
Charles Rennie Mackintosh & Margaret Macdonald Mackintosh:
Willow Tea Rooms (Glasgow, Scotland), 1903-04.
Julia Morgan: St. John’s Presbyterian Church (Berkeley, California), 1908-10.
Frank Lloyd Wright:
Robie House (Chicago, Illinois), 1907-09.
Unity Temple (Oak Park, Illinois), 1905-08.
Josef Maria Olbrich: Secession Building (Vienna, Austria), 1898-99.
Adolf Loos: Steiner House (Vienna, Austria), 1910.
Peter Behrens: AEG Turbine Factory (Berlin, Germany), 1908-09.
Bruno Taut: Glass Pavilion, Werkbund Exhibition (Cologne, Germany), 1914.
Antonio Sant’Elia: Central Station, project [La Città Nuova] (Milan, Italy), 1914.
Vladimir Tatlin: Monument to the Third International, project (Petrograd, Russia), 1919-20.
Cass Gilbert: Woolworth Building (New York, New York), 1911-13.
ART DECO TO INTERNATIONAL STYLE
{T/H: pp. 497-509, 525-528; Hearn: pp. 12-19, 23-38, 202-216, 238-248, 265-267, 289-302}
William Van Alen: Chrysler Building (New York, New York), 1928-30.
Le Corbusier:
Plan Voisin, project (Paris, France), 1925.
Towards a New Architecture [Vers une architecture], 1923.
Villa Savoye (Poissy, France), 1928-29.
Gerrit T. Rietveld: Schroeder House (Utrecht, The Netherlands), 1924.
Walter Gropius: Bauhaus (Dessau, Germany), 1925-26.
Albert Speer: Zeppelinfeld (Nürnberg, Germany), 1936.
C. Z. Klauder, Hunter & Caldwell: Pattee Library, PSU (University Park, Pa.), 1938-40.
Frank Lloyd Wright: Fallingwater (Bear Run, Pennsylvania), 1936-38.
Howe & Lescaze: PSFS Building (Philadelphia, Pennsylvania), 1929-32.
POST-WAR, POST-MODERN & CONTEMPORARY ARCHITECTURE
{T/H: pp. 510-524, 528-581; Hearn: pp. 19-21, 76-78, 216-222, 248-253, 267-269, 303-335}
Mies van der Rohe & Philip Johnson: Seagram Building (New York, New York), 1954-58.
Alvar Aalto: Baker House, M.I.T. (Cambridge, Massachusetts), 1946-49.
Le Corbusier: Notre-Dame-du-Haut (Ronchamp, France), 1950-54.
Louis I. Kahn: Salk Institute for Biological Studies (La Jolla, California), 1959-65.
Robert Venturi: Vanna Venturi House (Chestnut Hill [Philadelphia], Pennsylvania), 1962.
Charles Moore with Arbonies King Vlock: Palmer Museum of Art, PSU (University Park, Pa.), 1990-93.
Richard Meier: High Museum of Art (Atlanta, Georgia), 1980-83
Frank Gehry: Guggenheim Museum (Bilbao, Spain), 1991-97.
Daniel Libeskind: Jewish Museum (Berlin, Germany), 1989-98.
Libeskind & David Childs: Freedom Tower at World Trade Center Site (New York, N.Y.), 2003-.
Rem Koolhaas/OMA: Seattle Public Library (Seattle, Washington), 2000-04.
Veldon Simpson: Luxor Hotel & Casino (Las Vegas, Nevada), 1993.
WTW/Overland: Stuckeman Family Building for SALA, Penn State (University Park, Pa.), 2003-05.
Samuel Mockbee/The Rural Studio: Bryant [Hay Bale] House (Mason’s Bend, Alabama), 1994.