Catalog Description
ARCH9000 SPECIAL TOPICS This studio addresses design topics relevant to graduate level study. Students integrate the major architectural issues emphasized in the previous studios in a single design project. Prerequisite: M-Arch status. Corequisite: ARCH9200 Thesis Preparation I, and ARCH9300 Thesis Preparation II. Please refer to the Design Studio Grade Requirement regarding the final grade for this course. 6.000 Credit hours, 12.000 Lab hours.
Course Description
This semester will concentrate on architecture, landscape and urban design in Rome. Through research and first-hand travel-based experience, students will study what makes the eternal city great by seeking to understand its physical, theoretical, social, and cultural context. Upon returning to Boston, students will apply their analysis and insight to an architectural design project on a proposed site in Rome.
Perhaps in contrast to previous studios, this studio will focus on rigorous, independent, self-guided work. The main studio classes meet twice per week (Monday and Thursday afternoons). The expectation is that each student advances his/her work independently and the role of the studio instructor is to act as critic more than studio leader. Each student is required for determining a work plan, and milestones to advance her/his work, as well as what products to produce for daily desk critiques and reviews. These should be reviewed with the studio instructor.
As a precursor to thesis, this studio offers the experience of choosing and researching/documenting the site for the design exploration, and researching/developing the architectural program for the design project. These are important precursors to the design problem that will occupy most of the semester’s work. Each of these components of the studio will be graded separately.
To introduce the studio, we will investigate the vertical surface through an analysis exercise. Some students will have studies that focus on the classical orders of architecture, and their composition, through the study of Renaissance and Baroque vertical surfaces in general, and a specific structural bay of a built or theoretical precedent more specifically. Others will investigate post-1900 expressions of the vertical surface, and the relationships of exterior and interior architectural ideas and strategies.
As a bridge between the analysis and the design work, the studio will be making a ten-day trip to Rome to see examples of buildings from all eras with special attention to their vertical surfaces. This trip will be documented in a sketchbook that is dedicated solely to this trip, and will be graded separately.
The second, post-trip phase of the studio will center on individually completed projects that will be sited on Rome’s Via del Corso and Via dei Fori Imperiali. Design methodology for this studio includes on-site and post- travel collage studies that examine collage as a design strategy for the vertical surface as well as a way of understanding the multiple layers of architectural and building construction in Rome over millennia as a contextual setting.
Institute Learning Goals
The eight points listed below are established by Wentworth as the learning outcomes that must be achieved by each program’s curriculum. This course will specifically address the goals that are shown in bold face:
- Locate information and evaluate it critically for its appropriateness and validity
- Communicate effectively in written and spoken formats
- Acquire and use analytical tools and skills for evaluating information and solving problems
- Identify the traits of good leadership
- Acquire and use the skills needed for effective teamwork
- Recognize and apply concepts of ethical behavior to personal and public issues
- Explain the sustainable use of human, physical, and economic resources
- Recognize and identify historical and contemporary societal and global issues.
Departmental Learning Objectives (NAAB Criteria)
The National Architectural Accrediting Board accredits Wentworth’s architecture program. The NAAB has 35 criteria that must be covered by any architectural curriculum to attain their approval. This course satisfies (all or in part) the following criteria:
A.4 Architectural Design Skills: Ability to effectively use basic formal, organizational and environmental principles and the capacity of each to inform two- and three-dimensional design.
A.7 History and Global Culture: Understanding of the parallel and divergent histories of architecture and the cultural norms of a variety of indigenous, vernacular, local, and regional settings in terms of their political, economic, social, ecological, and technological factors.
Course Learning Objectives
- Develop an architectural research topic in a cultural construct, context, or product that guides
- architectural production for the semester
- Demonstrate an understanding of the chosen topic through presentation (graphic and verbal)
- Employ ‘lessons learned’ from the research into architectural production of a project that is devised by each student with respect to site, program, and ‘conceptual intent’
Instructional Methodologies
This studio course will consist of two projects of varying, prescribed instructional methodology. In the first problem, centered on analytical practice, the process is highly prescribed resulting in student work that invites consistency in exhibition and cross-comparison among historic and modern case studies. The second problem, coming from our travel in Rome, encourages individual research, design methodology and experimentation.
Required Textbook/Readings
All articles or book excerpts assigned as required reading will be made available for review. Students are encouraged to make extensive independent use of bibliographic resources to support their project research.
Assigned Readings (Pre-trip Seminar):
“The Palladio Variations: On Reconciling Convention, Parti, & Space.” Schumacher, Thomas. Cornell Journal of Architecture. Volume 3: The Vertical Surface. New York: Rizzoli, 1988. pp. 12-29.
“The Skull and the Mask.” Schumacher, Thomas. Cornell Journal of Architecture. Volume 3: The Vertical Surface. New York: Rizzoli, 1988. pp. 4-11.
“Herzog & de Meuron.” Moneo, Rafael. Theoretical Anxiety and Design Strategies: in the work of eight contemporary architects. Cambridge, MA: MIT Press, 2004. pp. 361-404.
Assigned Readings (Transparency Seminar):
“Transparency: Literal & Phenomenal.” Rowe, Colin.The Mathematics of the Ideal Villa and Other Essays. Cambridge, MA: MIT Press, second printing 1983. pp. 159-183.
“Transparency: Literal & Phenomenal Part II.” Rowe, Colin.As I Was Saying: Recollections and Miscellaneous Essays. Volume 1. Alexander Caragonne, ed. Cambridge, MA: MIT Press, 1996. pp. 73-106.
Additional References/Recommended Learning Materials
These publications are recognized ‘seminal works’ in the areas the studio will exploring, and are good starting points to find plan, section and elevations of your project
- Edifices de Rome Moderne. Paul Letarouilly. Princeton Architectural Press (reprint), 1984. Orig issued 1840- 1874 in 3 volumes. WIT call no: 720.945632 L48 [circulating student copy: 720.945632 L5]
- The architecture of the Italian Renaissance. Peter Murray. Schocken Books: New York, 1986. WIT call no: 720.945 M9
- The architecture of the Italian Renaissance / Jacob Burckhardt ; revised and edited by Peter Murray. University of Chicago Press, 1985. WIT call no. 720.945 B9
- Late Baroque and Rococo Architecture. Christian Norberg-Schulz. New York : Rizzoli, 1985 WIT call no: 724.19 N6
- Oeuvre Complete, various volumes according to decade. LeCorbusier. WIT call no: 720.944 J43, v.1-7.
Additional references:
- Art and architecture in Italy, 1600 to 1750. Rudolf Wittkower. Penguin Books, 1958.
- Roman house--Renaissance palaces : inventing antiquity in fifteenth-century Italy. Georgia Clarke. Cambridge University Press, 2003.
Grading Policy
Assignments and pin-ups throughout the semester will be weighted in the grading process as follows:
- Problem One: Vertical Surface Analysis 20%
- Problem Two: Sketchbooks—Rome 20%
- Problem Three: Urban Intervention
- Site Analysis/Documentation/Research Documentation 10%
- Design + Process 50%
Make-up Policy
All work is due at the beginning of class on the scheduled due date. Late submissions will be subject to grade
reduction: one-third grade per day (for example, B B-) for non-review submissions. Unexcused absences from reviews cannot be made up and result in a grade of ‘0’. Excused absence from a review qualifies the student for a make-up review.
Course Calendar (milestones)
Mon 31 Aug Introductory Seminar: the vertical surface; choose precedent; travel logistics
Thu 3 Sep desk crits
Mon 7 Sep LABOR DAY, no class
Thu 10 Sep pin-up: The Bay
Mon 14 Sep desk crits
Thu 17 Sep Material Submission: The Bay
Thu 17 Sep-
Sun 27 Sep Field Visit: Rome, Italy
Mon 28 Sep Material Submission: Rome Sketchbooks
Thu 1 Oct Project Review: Problem One—The Bay
Thu 8 Oct Project Review: Problem Two—Field & Studio Collages
Mon 12 Oct COLUMBUS DAY, no class
Thu 22 Oct Project Pin-up: Problem Two—Development
Thu 5 Nov Project Pin-up: Problem Two—Development
Mon 23 Nov Project Pin-up: Problem Two—Development
Thu 26 Nov THANKSGIVING, no class
Thu 3 Dec FINAL REVIEW
Course Policy and Procedures
The studio grade will ultimately hinge on the project presentations. However, the grade is not derived solely on this basis; rather, it is the aggregate of work throughout the semester. The quality of work presented at scheduled pin-ups throughout the semester, the student's work process and preparation for desk crits, and the level of participation in the research component will be factored into the final grade. The midterm grade will provide students with a mid-semester evaluation of their progress and performance to date.
Design work should be developed in sketch, drawing, and model form throughout the terms. Keep the bulk of your work in studio for reference purposes. On all days scheduled for individual review, substantial amounts of new material must be prepared for discussion. Your working process will be considered carefully in grading. Computer-generated materials must be printed out for in-class review. Tabloid-sized prints are acceptable for daily desk crits. Computer drawings must be conceptually rich and graphically elegant.
Studio Culture
The studio environment is an essential component of learning to be an architect. Only through respect between faculty and students as well as students among themselves can a healthy studio culture be fostered. Our department’s goal is to create a vibrant, inquisitive, safe, and respectful studio setting for students. All students are expected to uphold high standards of behavior and academic discipline when in the studio. See the full Studio Culture Guidelines for more information.
It is expected that students will take advantage of the studio environment by working in studio outside normal class hours. The studio environment offers an essential experience to students and brings many major benefits to architectural education in working with one another. Students are encouraged to make collegial connections with students in other years. Studio hours will be posted. Students must make themselves familiar with the policies outlined in the Studio Guidelines document that is distributed by the Department of Architecture.
Work in the design studio is advanced through independent investigation, discussions with instructors and colleagues, desk critiques, pin-ups, and formal reviews. Significant progress is expected between each class meeting. Progress since the last class meeting or review is expected to serve as the basis for each in-class discussion and desk crit. Any progress made on digital representations must be printed out before it can be discussed with your instructor. In the absence of significant progress since the prior desk crit or review, your time with the professor may be forfeited at your instructor’s discretion.
Students’ presence is required for the full duration of each scheduled class meeting. Failure to be present and focused on studio related work during class time may result in a partial or full absence being registered for that day. Work on other courses during the scheduled studio time is not permitted. Students are expected to refrain from phone conversations, email, or use of instant messaging during class times.
Contacting Us
Mark Klopfer’s office hours are Wednesday and Friday 9:00—10:00. Elizabeth Ghiseline should be contacted by email to set-up an office appointment. You are encouraged to schedule a time to meet prior, via email at either klopferm@wit.edu, or ghiselinee@wit.edu.
NOTE: Please let me know in advance, preferably by email, if you will be absent or late for class for any reason.