Architecture and Its History: Past Futures and Future Pasts Author(s): John E.

Hancock Reviewed work(s): Source: JAE, Vol. 36, No. 1 (Autumn, 1982), pp. 26-33 Published by: Blackwell Publishing on behalf of the Association of Collegiate Schools of Architecture, Inc. Stable URL: http://www.jstor.org/stable/1424605 . Accessed: 07/01/2012 12:48
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AND ITS ARCHITECTURE

HISTORY:

PAST
AND

FUTURES
FUTURE

PASTS

0
inwhich architodiscuss thesituation historian Inorder is anarchitectural JohnE.Hancock it now finds itself, teaching history attheUniversity tectural and Hehastaught architect. thisdistofirst seems ofCincinnati since1978. emphasize necessary and continctionthelong-standing between The word canonly toa refer influential factofarchitects' inevitable "architecture" tinuing "Pasts" and thecomparaanartistic ora medium, (ofwhatever variety) professional activity, ofinvestiadvancement recent collection ofartifacts, forms when themind tively systematic ofexamples which and exist from thesubject outside images already gations byscholars Both discipline In ideas which have been the formulated. thecaseofart-history, itself. already itutilized itstriple methods derived from itcould and besaid parphysically intellectually, that mak- entage architecture is itshistory. The intheconnoisseurship ofpainting and simply as ofaesthetics ofarchitecture thedevelopment hasalways been fundamen- sculpture, ing ifunconsciously, of even ofphilosophy, affected and theinfluence tally, bythetype a branch ofview ofearlier work which architects have an cultural included Germanic These history? and wemight itsinfluence extremely todiscern advanced held, acknowledge detail, capacity ofJ. H.Plumb's and attribute document aspects concept byadopting authorship chronology, of"The hedefines as a criti- (useful inassessing theauthenticity and "History" Past."I imporcalinquiry, while "The what Past...dictates men tance an ofarticles ontheartmarket); placed Inarchitecture doorbelieve." is there should inelucidating interest themechanisms involved inthecreation ifnot and ofautonomous apprehension a "Past" (strongly influencing always it is also"historical,' when even and formal and thedocumentary and dictating), beauty; study itis denied. even when to creative intellectual needed speculation works ofart as products and reflections regard with ofunified iconoPrior tothetwentieth both themost cultures, specific highly century, and and onextant graphic general stylistic content.3 developed predominant viewpoints which themwere those architects buildings selves and used advancement and intelheld, formidable developed, continually The prolific as a central and often feature lectual ofthisscholarly unconsciously (and power art-history oftheir inthe own Whether itsspread from toEngland America and disciplinary image. Germany inthe1930's), ofa "traditional" as in with limited evolution architects' now Past, along rapidly intheir interest own Doric vernacular (asseen 1)or temples history (fig. (fig. waning villages exclusion of itfrom theBauhaus ofa "mythical" inGropius' idealization 2);inthesingular meant that as architecture became as inthedesign and rhetoric oftherencourse), Past, initsimagery, "historical" the evocation lessdirectly 3);orintheadaptable (fig. aissance became lessconof "romantic" as inthearcheological "art-history-of-architecture" Pasts, with cerned architectural ofthenineteenth eclecticism 4); wholly interpretations (fig. century oftheworks-concentrating onformal instead wasitshistory-or architecture a part ofitsuch as intheconcepts of ina very This direct and self-evident issues, stylistic unity and way. between thediscipline ofarchitecture and and Wolfflin, Riegl, Being writers Worringer.4 theformulation ofattitudes and onart, is anunderstandable exclusion theirs application itsown about to have seems non-artistic ofarchitecture's past seriously comparatively inthelatter half as use,place, such and eroded ofthenineteenth dimensions tradition, only itwasthisspecialized choice Yet when therapid ofthefactechnique. expansion century, tual and baseofhistorical ofsignificant issues as EinfOhlung, epistemological (such inthetransfer studies ofthedevelop- Kunstwollen, resulted and which came to Formgeflhl) ment ofadvanced into of methods thehands theunacknowledged inarchivacuum occupy ofarchitecture outside itselftects' created specialists bythe disciplinary cognition art-historians. Modernists' toreject alluseful attempt "Pasts." notably
radically altered fromfive thousand Though steady-and alwaysarchiyearsof relatively this new "Past"nonetectural-development, on the social and theless exertedits influence of Modernism.s Thusno aestheticprinciples perceived as an integrated discipline longer

Acentury of S Paestum: within evolution accepted

tradition.

m
to suchthings as clients' responsive aspiraorinstitutional tions, constraints, physical orregional architecture wasnowa traditions, branch of art,a medium of expression bywhich individual wereobliged andemgenius-artists to produce and powered formally sophisticated innovative of the object-buildings, expressive of modern culture andcapable of leading spirit as a whole onwards into thefullrealizasociety tionof thenascent 5).The Zeitgeist critique (fig. onthesegrounds is well-known, of Modernism

and Thus stylistic speculation. iconological, influential can architects still oftheir conceive itsartifacts field and the one they (including inwholly becurrently artistic might making) orasautonomous formal and often terms, fragmentary image-objects.

theimage ofunified cultural Moreover, epochs asautonomous now almost entities, though ingeneral discredited totally historiography, inarchitectural still lives asthe"period history it inshaping the role ofthis and yet historiography perpetuate symbolizing helping styles," isstill undiscussed. themyth ofgreat under the largely ages unfolding ofgenius artist-architects. leadership Again, theModernist oftherole ofthe archiimage still a divided Architectural remains tect drives our most talented field, history designers tofall inorder over each other tobedubbed with anart-historical tradition still carrying theintellectual anarchi- "Post-Modernist" forward and content, themedia, assurby thereby tectural tradition onthe whole ing that (and themarch of"History" will sporadically regard tomake con- them as having thevision tofulfill had the disciplinary unconvincingly) trying This division leaves current nections. nascent design Zeitgeist7 ina state oflargely activity unacknowledged confusion about what to The current other just currently ought genres design betray, among leaves beitsinevitably needed and tore-apply architectural failure "Past," history's things, the discussion ofmethodology topropose a broader inand more languishing, itscapacity inunproductive itexists atall, where dualities clusive within both ofand disciplinary cognition, inlarge architecture. This failure isprobably orservice" like or"geologists "discipline and few decades part a cumulative result ofthelast miners.'6 inarchitectural in where the schism education, and has the historical meant continual exacerconscious- historiography Expanded pluralistic ness isa fact ofthepresent decade. ofdiscrepancies The between themethods allu- bation sionism ofmany influential aswell and of"architects-who-deal-witharchitects, priorities asthe common and about itssuperfici- history" misgivings "art-historians-who-deal-withand thelingering about its"naughti- architecture." ality guilt are allsymptoms ofa difficult search ness," architect-teacher athisbest isconfident for full consciousness and confidence The working and assertive oftherelevance inaforthrightly ofhismethods influential "Past." Yet where such confidence has tothe as in ofdesign, and can offer critical seemingly emerged, teaching into certain some ofthe kinds ofattributes well known ofawork rhetoric ofhistoricizinginsight themethodological with under- usually some connection toa topical theo"post-modernism", their inthe source retical or formal inmany idea. Yet left pinnings betray problematic cases, ofarchitecture from abandoned a scholarship which heand his separation eighty-year-old by itsown consider tohave there become irrelevant survives colleagues historiography. Mainly, intact theoperative notion ofthelibtotheir the architect-historian virtually needs, merely erated a travellog ofslides in yet style-driven artist-architect, organized wielding substitutes with textbook order a routine recitation ofbasic his autonomous medium for image-making the advancement ofthenewest The trained culturallyFletcherian art-historically "facts." rooted Charles Jencks (which style" "period teacher athisbest isconfident ofthe scholarly
hasaccommodatingly provided forus).Inthis respect thepresent condition of architecture doesnotdiffer fundamentally from Modernism. There persists a disciplinary cognition rooted in methods which tended to require thedisembodiment of thesubject buildings into archaeological fragments forcategorical analysis, orinto autonomous artistic images forformal, aesthetic, authority andintellectual consistency of his interpretations, andpresents thoroughly documented insights into thesocialorigins and cultural meaning of individual works, with a visual andverbal eloquence appropriate to conveying their embodied qualities. Yetoften, with little actual knowledge of theoverall nature of architecture, hegivesmerely exercises indry

The monument SConques: within itsfabric.

Acreative SL'nnocenti: inspired bymyth. leap

F"

e TV

ILL

40

A"Past's" Eclecticism: most self-evident manifestation

SModernism:Another "Past's" most subliminal influence.

Ihave that ofthe some most observed formal Second, and perception, stylistic pigeon-holing, infact which arrive, assume architecture recent investigations scholarly precedent-hunting, art-historical or formal earlier is merely within another "the stylistic "medium" Arts." unlike atquite well-balanced and ispreserved the The thorough apparent persis- analysis, by duality and accounts ofthemultiplicity ofinfluences ofgeneralized ofthe tence each holds images as is portrayed asbiased, which themaking of other. considerations The architect gointo in Built as informs tricks inspecific toapply and architecture interested only situations? toallow orasprone the onlarger accumulations offacts, are studio, historically they they intheimage of toprofessional inaccurate and emphasis prag- become convincing particularly which isportrayedarchitectural matic art-historian while the issues; they activity portray. with ofnames asonly concerned memorization Iwould that aloof from the definition orastoointellectually And and third, dates, propose itis like of"history" what tounderstand itself architecture toinclude the beexpanded may a building. ofthese Some todesign of but assump- often impressionistic functioning memory itwill tobemore ofthepast seem and their views berecognized, individuals which, tions, ofhisthestrict outside than itis my asser- generally others. Yet "discipline" justified broadly that tory, that tobetrue, tion none ofthem need and tothought and crucial are yet action1? Iwould that issatis- And the definiofthese neither propose positions similarly, generalized toinclude ofhistory tion ofarchitecture beexpanded thepotentials approaching factory for an inarchitectural or for theneed or autonomous and the education, ongoing "language" and the ofarchitecture11 which afully architectural inte- "medium" enduring projects history theinitial artifacts besides and useful themselves,'12 accurate, grated "Past." and which which them produced may activity With inhistorical for narrative. beaccounted The is now far field toolarge and for diverse ofarchithephrase these definitions, "history tosuggest that schism tecture" the fundamental valid meanings. anyone acquires additional can behealed, orany comthe resolved, duality prehensive multi-purpose promethodology combination a special entails course itmay Yet beintellectually posed. perceived Asurvey it when insuch a way astoyield a consciousness of and ofproblems especially potentials, exstudents' ofthe inthe first isgiven selective while year methods, avoiding inappropriate are education. Ihave inboth toarchitectural made lecFollowing posure stereotypes. attempts Ihave found oftechniques a series important attheUniversity ture and studio courses of Cincinnati tobenefit from such a view ofthe ofthat a part itsasvital for introductory making the aspossible. anarchitectural and have First, acknowledgefield, pursued history experience be isuseful that architectural may history Iconsider which tohave toagain ment the potential itseffect. Such uses have been toexert todevelop a functioning allowed students encourage fall onvarious but compiled basically and architectural lists,13 responsible "Past." "historical two into understanding," categories: cultural and The course intellectual methods described are based sophisagility partly a greater tomany onthe Iwould tication three exposure First, acquired through following points. and that and a full make the ofthought action, assumption acknowledge- forms "architectural of a knowledgeable ment ofthe ofanaudience offuture understanding," image specificity how itisfor, and architecture is,what architects need not undermine scholarly integ- what asa their Yet itismade. inany itaffects because the discipline viewing by rity way, only toa partly intellectual-as ofthe ofhistory,8 asked not wholly "choice opposed question" archiwith itis pursued. therigor which that And important many architectural-activity, but fail to historians tectural is inevitably any choice acknowledge audience-specific regardless of whose needsandinterests areconsciously orunconsciously being served. thevaguest "unteachable" channels bywhich their presentations might affectarchitectural thevalues ofthe Presumably understanding14 enterprise would thenbeequally wellfulfilled bythehistory of economics, literature, orpainting.Because theactivity, medium, andartifacts

29

under allexist incontinuity, themost insidious ofthe and Third, study however, probably singubecause the oftheinfluential determinisms still isthe wielded "Past" is lar forming being today Ihave inprogress, become far more "stylistic." itboth found and inevitably things possible with orwithout the architectural stutoberid ofallposthumous specific refreshing style dent's awareness or thehistorian's such as"Mannerist," and permission. names "Baroque," Audience consciousness onthepart ofthehis- "Rococo" asthe (with letters) capital primary torian will therefore not when the ofthe only help describing origins encourage classifiers more accurate "architectural" The advanced interpretations,works. scholarship "situational" but also a whole illuminate network of may Idescribed infact hasmade these categories connections both extraneous. never leans on philosophical (disciplinary virtually Verheyen and formal and the of"Mannerism" isdiscussing the cognition) (artifacts medium).the concept This does not need toimply formal Palazzo del Connors never any singular Te; Joseph capitalor as is often and seldom uses the at word stylistic dogmatism supposed, izes "Baroque," because thenetwork can beextremely onBorromini17 elabor- allinhisbrilliant monograph and itself is much toodiverse in ate, The which history characterize times and styles places itscontent. In like thestudent of traditions and are, influential case, any typological may course orenlarge strand inthis precedents, factors use, sever, which often any simply existed, network ashisimagination and this within theoverall allows, situationunconsciously, itself of"that will have toconstruct which artist his the athisdisfinds process part begun ofarchitecture-probably the working theory and which constitutes hisground of posal most ofhistory. single important The "use" dorepresent is reality they meaning*8 often atype ofartistic just motivation such as thehistorical ofarchitec- a "mannerist Second, presentation impulse" Such an (small "m"). ture can thebest if project disciplinary image isvisible inmany impulse, however, times and itisgrounded onmulti-causal or places, predominantly and so itismisleading tospeak of Itshould "situational" interpretations. already "Mannerist Architecture" asa coherent class beclear that this does not a merely imply prag- ofobjects within a single defined oftime. period matic since the full ofintellec- To backlash, range dosonot confuses discussion ofthe only and factors need tobe tual, cultural, stylistic inother impulse but contexts, the hypostatizes considered ascomponents ofany "situation.' diversity ofsixteenth-century work, byimplying What is needed istoacknowledge architecture's that such were the dominant impulses determinand not from ing transfer multi-functionality motivators merely asPevsner (that, would have had old determinisms or"artistic itin1946, singular ("style" Giulio Romano allelse, above was, tonew ones expression") tobe"Mannerist") ("institutions," "typol- trying and thus deserve to or"politics"). Adisciplinary cognition become ogies," theprimary classifiers aswell. Despite ofthe inclusive situational ofthemedi- the property fact that who usethem many acknowledge um's is best served accounts that manipulation by are they the cusmerely "conveniences," ofthe ofissues, intentions, tomary dynamic range labels create more stylistic problems asthey and have constraints, aspirations, indisciplinary than in solve cognition they been asa resolved architecture itself through methodological clarity. ofclimate, modifier and rebehavior, culture, sources.' ofany isas liberation Singular from causality the type Fourth, stylistic straightas itis unsatisfactory as jacket also the unnecessary ofa more because, opens possibility R.N.Stromberg has inclusion ofthediverse forthright of"vernacular" architecsaid, writing constructs inintellectual ture, available which has ofrelevance a currently types beyond wemay toa more history, "proceed towards itsegalicomplex merely perfunctory gesture which is not a cha- tarian and a merely historiography symbolism, necessarily parenthetical fascination with itsexotic The otic quaintness. one...(because despite themultiplicity of
issues)we must hold them all insomesortof balance to understand cultural andintellectual phenomena fully."6 6 imagery oftheEuropean vernaculars (fig.2) is an important source of our ownarchitecturalcultural heritage, having influenced architectural theory as wellas helped form current public taste.Inaddition, thesesettings were throughoutthepastalsothephysical reality outof which themore intellectually ambitious monuments derived their meaning inrelation to the

funda0 Fontenay: Illustrating "articulateness" mental inarchitecture.

1
oftheplace as a whole. context as for aswell architectural Emphasis Sixth, fostering and onthis which between monument historical deal relationship techniques understanding, with be the former ina given fabric will inthe foster student selectively occasionally may place has the todiscriminate intheprogram and included. Systematic medium-analysis capacity interbeen but itis ofhisown how mentioned, already latter-day settings projects design ifplausible, or ofany useful, that kind, and pretations building types normally settings suga prominent also beallowed ofappropriate or significant, may gest degrees varying modesty thedocumented facts. Care vernacular architecture position alongside Moreover, prominence. isonly also todistinguish illustrates theclearest most between and them, required perhaps anentire historitorefrain from inform ofsuch issues and reflection building straightforward onthe former. Such even a way asclimate and oflife. (or quasiography historical beinstrucnon-) interpretations may aswhen Vincent wrote itis universally that slides tive, Fifth, Scully poetically recognized intheir inwhich can never dojustice tothe ofarchitec- ofGreek temples reality landscapes,2o thepresence orabsence offactual cortural that and even real experience, experience case conis not crucial toanenhanced can never dojustice tothe oftheplace roboration history visited. These two limitations ofarchitecture's nevertheless sciousness expressive range. may beaddressed once are The They beinfluential, aswhen Colin Rowe they may acknowledged. hisanalytical constructed thelinkage speculations upon by issignificantly resolved latter insuch as ofLe a way works Corbusier21 discussed a well between illustrated the already and anhisa generation tochange ofinfluential and experiential description formal architects' inwhich about their case the torical account that medium; seeks toestab- notions creatively historithemselves thus become lish themodes ofitssituational The interpretations propriety. calfacts. Or besubsequently interwhich must establish the vicarious former, may they a large ofthe culture between iswell addressed technical posed itself, by segment experience by inwhich case artifact's the and numbers ofhigh origins; means-large original itself quality asin toboth attached become color slides ofany imconsidered irrevocably they building carried ofthe ofromanticism case veil now dual with screen portant, projection frequent the facts the castles medieval matched double despite gruesome lap-dissolve, images by images, interIn the each of their which case, the as as immewell the origination. convey regional connect itsresulting actand diate which even insights contexts, images may suggest pretive with ofthemedium thelearning (as attributes ofnon-visual and ofcourse strongly reality, orwith and Rowe's) disciplinary All with Scully's toconvey motion-picture footage sequence. and the Rowe's still useful these accomsome (aswith influence, tools, cognition require "facts" both become romanticized todeliberately the castle, having description panying bridge or desireable become either ofthe field). between two and dimensions and They four, gap hisand directed tothe essential between alltheother and sensesaugmented sight torical sizeand seand enterprise. scale, identifying explaining and kinesthetic thermal, acoustic, quential, of theknowledge instead ofregarding attributes ofthe work. Even are these Seventh, though toany astheprerequisite orimpossible difficult tosimulate, facts understanding generally itis will mention and atleast courses, these inarchitectural survey history description keep ofthe in possible dimensions architectural medium alive AsR. this toreverse relationship. V. to one never has the students' written, minds as integral with those try "should they Daniels can seeinthe slides. ifhedoesn't itssignifiTraditional know and memorize a fact art-history ifheunderstands itssignificance, and itsreliance onphotographs-even assubjects cance; toolong architecture's itis almost fact?2 ofstudy-has toforget the ignored impossible anaudience offuture the experiential Itis even multi-sensory architects, primary For reality.9 thatthecooldamp draft at the plausible should be anunderstanding of ideas structure
entry orthe monastic church, to a twelfth-century walks (fig.6) is at quiet shadeof its cloister a subject foraesthetic interpreleastas valid andmedium-analysis as thecolumn tation geometry. capitals orplan andanappreciation of plausible andsituations, of the effectiveness ofthe interpretations andinto thisstructure should thenbe medium; as fewfactsas possible to illustrate placed andspecificity. Thearchitectural its reality neednotknow precise datesunless student

Cultural Greek prioriCity: onthe tiesarranged (Susan landscape Griffith, first year).

The City: SRenaissance ofanintervention subtlety fabric onmedieval (Richard first Beck, year).

toanother isa definite connection there ofplausible The inclusion interpresigfunctioning that Itseems inthe of nificant occurence. definition and tation preferable medium-analysis of todate a design the beable students architectural approximately validity history suggests than rather within onintelligent ofhistorical based forms some discernment, activity special is it been Mention has Neither alone. a studio setting. already exactly bymemorization or toknow a thelecture course made ofways any necessary buildings usually may suggest that network the name and date students' for architects ofconnections (i.e. factually) by emergtime toknow there is not for and ofthe (i.e. fairly thoroughly perhaps discipline, cognition ing a within The in task. a specific Methods studio important diversity significantly). originating with additional the beillustrated can reintime orplace can offer however, studio, important with a thoroughlyforcement but unnamed these connections examples, along structuring by ofone. "situational" the enorand the other from interpretation side, by applying students which architectural motivation mous examina- bring and and Iwill three finally, assignments work. describe Eighth, totheir design inanarchitects' course should tions survey activities. ofsuch categories allencourage interabove reflection, thought, than the rather and inthe studio bea tool for intropretation, theory-building, may History ofaccumulated information. The stu- ducing recitation from which the issues architecture many learn the beencouraged tonot dent the forms is made, and which and may only principles tounderstand some historical material but inconnection have sofar been with developed itifasked a short take- them. reasons for (in a range ofissues isthe Such learning organizing tocreatively home for extend principle at first the studio behind example) essay, year design todevelop of course material and usethe a series of where the ofCincinnati, part University in hisorher overall ofthe one the build comfield, conception one, major projects up, by from basic shelter ofarchitecture oftheory, terms and From ponents principles, images. for ofDoric example, temples, construction, function, knowledge may through composition, bedeveloped anopinion about the value climate, relative and socio-cultural context, meaning. toradical The totheimplications ofevolutionary refinement asopposed students are introduced values and from the about a project ofthese issues innovation; Rome, through doing specifilimitations ofa ranging from and focussed oneach. Short thematic eclecticism; presencally ofhistorical are used to about the medieval examples fortifications, discrepancy tations intentions and between insuch issue a way that the each subsequent introduce originating tosuch Effective student can tothink intelinterpretations. responses begin immediately onsufficient inissues "historical understand-ligently the about and extant formal and it; rely inrelation ofthe matter towhich tellectual each are ing" scholarly possibilities concerning issuggested, also a each but of described soastoaccelerate the topic require process tothe accumulated material ofthe of"architectural development understanding"exposure inwhich imfield. There is nosense these are tobeinprogress. not but need They augment, the kind ofvalues from plied derived tobe"right orhandy forms totally displace, answers" also research. tocopy-instead, of pure doing points always simply for creative extension or conscious departure inversion. The issue ofconstructional articulafor is introduced tion, example, by primarily itisa valid inwhich toexert sphere suggesting as is evident creative inmedieval archienergy, inthe tecture ofthe orders. (fig. 6)and origins Functional asthe"House" such typologies,
a reference timebecome through illustrated the canunderstand thestudent which from to thefirst he orshe brings image cultural bediscovered which may tasks,andfrom design The of possibilities. categories major other introis effectively relations issueof contextual Canal theGrand down a slidetour with duced imported styles thevarious where inVenice, bythe andrelated be seentransformed may

inRome: The Capitol of interpretation Graphic formal and layering spatial Monaco, dissolution (Fran third year).

*"

subtleties Profound M Mistra: in"accidental" hidden medieval (Rick Posey, plan third year).

io

rtoward Tools mTheAcropolis: of understanding a graphic (Mark Jones, subtleties fifthyear).

E
ofthe and theindividual cently to loci, specificity genius jocks," bring high-school "drafting beseen ofarchitectural And their first but their buildings study. may exerting year varying fifthly, ofprominence. itisa good toexpect them tobegenerally appropriate degrees opportunity as toother cultural fields such come exposed inthe studio a foreign become intheir music orliterature History may period, corresponding inrelation context inwhich toarchitecture asaform ofinvestiga- and perhaps generally design This done tion has more offers themost vivid of project "applied history" understandings inthe certain issues best seen of than lecture orintroreinforce content, perspective history historical anissue distance. Such issocioor duce relevant formal, potentially typological, cultural and the fiction Ithas meaning, project weuse contextual precedents. opened vividly toaddress the end ofthe first is about ofarchitecture's some it,near deepest year, thinking that a research institute has a method commitments obtained tosociety. itcan reconstruct ofthelongclones whereby isthe third and deceased and is inneed ofsmall analysis, community Precedent however, inthestudio one each for from final form which take. accommodations, groups history may inthis isthe ofthe The to student isexpected History, light, repository epochs. several inprior and itseffectiveness toanunderstanding ina particu- medium ofhow, applicacome lar time and assuch and the besubjected tomany place, organization, composi- tions, may offruitful kinds and and ofbuilding character tion, articulation, interpretation analysis. and were related tocultural Upper atCincinnati studios are offered as open types spaces year and and tofashion ona then elective sothat the student can choose beliefs; patterns options inwhich totake inany siteanoriginal for a town studios ofseveral specialized given design the ambience will assure theinhabarchitectural can We thus general subjects. occasionally itant's emotional and comfort. The teach such spiritual studios, specifically history-related this entitled "Historical results that have indicated both close given past year reproduc-asone tion offorms and free ofprinIn Model and totheusual addition sort interpretations Type." each student an selected tothe ofsiteand can program, responses ciples generate convincing from model which toderive asmuch 7 &8).Itis particularly historical fiction project (figs. orinsight aswould toseeintherenaissance prove possible. projects inspiration fascinating research allthe therefore included ofreconciling HumanistPreliminary various theknown ways with what actual ideals would have been the usual and contextual but issues, programmatic inthis ofplaces. more a would exercise memories the"people" particular bring importantly detailed conformal, functional, organizational, and ofthemodel character The educational benefits ofthe infact structional, analysis project Indeed themost remarkable itsoriginal which (figs. 9-11)?3 intention, motivating gobeyond ofthis result was was tounderstand, exercise the with a vividness only design methodological can how ofthe ofthe form is fruitfulness architectural stimulate, activity application design affected culture and ina certain students' institutions incentive and their architecby wholly them become more selftural setofinterests tothe and way, thereby helping development conscious and ofthose application ofboth old and new modes ofanalyresponsible interpreters intheir issues own Italso time. sisofthemedium and itseffectiveness. adds totheir Their ofhistory assuch, their hav- prior ofthebreadth in ofissues understanding by understanding toactually toapply and the historical motivation ing begin design, primary stylistic architectural and tointerpret and ofthemedium constraints. ithasall adapt aspects technological Thirdly, the benefits oflearning aforeign from a certain source for a certain and analogous task, a significant onthe combined toproduce and language-most notably perspective range ofone's own. ofunderstanding ofthemodels able to asobjects idiosyncracies depth They're ofuseful lessons ofboth discover the and oflate -as embodiments idioms ephermeralities
form andprinciple. As anexperimental structuring of the intuitive processes bywhich creative designers continuallytransform precedents, theexercise enthatanymode of analysis which the couraged student sensedmight be helpful wasworth pursuing. Thus a widerange of original verbal

SResidential College after Hadrian's Villa: Formal a across accretions hinged site(Yolanda Cole, hilltop third year).

Hadrian's Villa: Graphic ofwall manipulations articulation Cole, (Yolanda third year).

twentieth century architectural language, such as pandering contextualism andthesearch for after College complexity. Fourthly, it helps release them from m Residential Chantilly: Towards anequivathemundane concerns which many, being relent but non-historical
character-richness (Vonda third Alberson, year).

1
andgraphic The analytical techniquesresulted. list of aspects forstudyexpanded continually as the projectsprogressed-as the task at handprovided fresh"questions" forthe modelformal bothpurely concernsand including issues pertaining to use and construction. Inthe former weresuch thingsas category dominant andsub-dominant mass andvolume hierarchical of articuladistribution hierarchies; andits psycho-emotional tion;site utilization distribution of effects; proportional relations; and recession;andplan frontality, rotation, andtheircomdetails,positional inflections, effectiveness.Inthe lattercategory positional werethermal, aestheacoustic,andsequential detailsandrhetorical tics; elevation gestures, andtheirexperiential the funceffectiveness; space andmovement defining tions of ornament; relation of structure to planand techniques; andprinciples of materials volumetrics; usage. fromthis process(figs. Thedesigns produced fromthe generally 12-15)benefitted recognizedpracticeof usingtypological spatialorbutalso froma consciousattempt ganizations, to the visual equivalents to createnon-allusive richnessandvividappropriate norcharacters foundin ancient,medieval, andrenaismally sance buildings. Paintedstucco pastichesof historical formswerenot nearly recognizable as the resultsas effortsto forthcommon among extendcurrently prevalent building pracrightly articulate andvisually tices intomorehighly tunedto a certainmode vocabularies engaging anduse. of human experience the issues of the field, Whether understanding addressing through design those issues which oranalyzing the a distancedperspective, require to suggest equivalent of old buildings attributes in new ones, the consciousstructured quality in the designstudiois a presenceof history of the linkage) reinforcement (a reciprocation of new inandan augmentation (a motivation thatexists in architects sights)of everyvirtue theirowndisciplinary history-for both studying and"architectural" understanding. "historical" "ThePast"has alwaysinfluenced designers in smallconsciouschoices aboutstyle orfitness, butmore significantly in largeunconscious presuppositions aboutthe nature andpriorities of the field.Aftera trying century in whichour disciplinary history has beenheldin"Babylonian Captivity" byanother field,we mightnowseek to againconstruct a fullyintegrated anduseful

ofthemost advanced out "Past" scholarly and themost investigations audience-specific demands The peculiar interpretations. analytical to eraseem self-conscious ofour own highly and architectural a responsible demand freshly within and education, history fully applied notmomentary built ondisciplinary cognition, trends. stylistic
M
Notes JohnHarold, TheDeath of thePast (London:1969) 1. Plumb, p. 16. 2. Notably the work andBerenson, and of Morelli Baumgarten Croce, andHerder andBurckhardt, respectively. 3. Kleinbauer, in Western W.Eugene, Modern Perspectives ArtHistory (NewYork:1971) pp.1-105. 4. DieEntstehung derBarockkunst inRom (Wien:1907), Principles ofArchitectural (trans., London: 1932), History and Abstraction andEmpathy NewYork: 1953), (trans., respectively. has beenpursued Norris bySmith, 5. Thisargument Kelly, TheFailure of an Eschatology" Folly: Society "Millenary ofArchitectural Historians Annual and Meeting,January, 1970; inArchitectural andArt Gombrich, Ernst, "Hegel History" Profile "On the Methodology of Architectural Design History 1981) pp.3-9. (London: Service or Dora, "Architectural History: 6. Wiebenson, Historians Annual Discipline" Societyof Architectural NewHaven, with Charles Meeting, Wayne, 1982;andAttoe, W.Moore, "How Notto Teach Architectural Journal History" ofArchitectural Fall1980. Education of thisprocessinfulloperation, see 7. Foranexample Allusions" (ona housebyRobert S., "Grand Stephens, A. M.Stern) Architecture Progressive 1977,pp. February 58-63.Thehouseitselfmaybe style-driven, butevenmore asks "whether these principles so thecritical essay which thisdesign) anarchitecture (and constitute thatis truly 'post-modernist'.'' of History Practice (New 1967)p. 117. 8. Elton, G.R.,The York: Collingwood, R.G.,TheIdeaof History (London:1970) p. 273. is James inthisconnection 9. Perhaps the best known and work on Michelangelo; andmore recently Ackerman's and evenmore Borromini JosephConnors' comprehensively, Fora methodtheRoman Oratory(Cambridge, Mass:1981). see Verheyen, The Palazzo del discussion, Egon, ological TeinMantua 1977)p. 4. (Baltimore: 10. Marwick, TheNature Arthur, of History 1970)pp. (London: 142-165, including prominent reference to W.H.Walsh, in Burston inHistory" andThompson, "Colligatory Concepts ofHistory andTeaching StudiesintheNature 1967) (London: andthe Language of Christian, "History 11. Norberg-Schulz, Architecture" inJohnE.Hancock, Ed., History in,of, and forArchitecture 1981)pp.6-15. (Cincinnati: Presentness of Interpretations Stanford, 12. Anderson, "The a History andof Artifacts: Towards forthe Duration and of Artifacts" Change inibid., pp.49-57. 13. AttoeandMoore, op.cit.,p. 2.

How of Architecture: ''History 14. Millon, Henry, Useful?" Journal December AIA 1960,pp.23-5;andSpiro Kostof, byDenise "Teaching Architectural ScottBrown, as quoted ArtsandArchitecture May 1967,p. 30. History" a 1970EDRA Conference is from function definition 15. Thefour at PatO'Sullivan. with JohnMusgrove paper byBillHillier, RIBA Intelligence Unit. UsedbyIntellectual Roland 16. Stromberg, N.,'Some Methods June1975, Review Historical Historians" American pp.563-73. 17. Connors, critique op.cit.(note32).Alsoforanentertaining "AHealthy see JosephRykwert, of this lingering affliction, in Hancock, in Healthy Mind Ed., op.cit. (note35), Body?'' pp.44-8. in andCultural 18. Colquhoun, "Gombrich History" Alan, of the Methodology DesignProfile: Architectural "On Architectural p. 39. History" (London:1981) The American JamesMarston, 19. Fitch, Building. EnvironForcesthatShapeit (Boston:1972) mental pp.1-4. andTheGods TheTemple, TheEarth, Vincent, 20. Scully, (NewYork:1962) andOther of theIdealVilla TheMathematics Colin, 21. Rowe, 1976) Essays(Cambridge, Mass: How andWhy 22. Daniels, Robert Vincent, Studying History. p. 34-5. (Englewood Cliffs:1972) a model from of design exercises 23. Forother see: Frances Journal from Models" et al, "Drawing Halsband, ofArchiGordon Education tectural pp.7-17; September 1978, in Design: Teaching Simmons, "Analogy Studio Models" Education 1978,pp.18-20; ofArchitectural Journal February on the Past"Central Norman Papers Crowe, "Using A.M.Stern, andRobert Architecture 1980,pp.21-39; Spring at the End of andHistoriography "Architecture, History, in Hancock, Era" the Modernist Ed.,op.cit. pp.34-43.

after Residential College PerthePalazzo Barberini: illusions and spective rhetorical (Jeff gestures third Justice, year).