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LAR 388 / ARC 368 R / ARC 388 R Prof. Mirka Beneš Thursday, 2pm-5pm Office hours: TBA. Room: Sutton 3.112 Office: TBA. School of Architecture Office: TBA. University of Texas at Austin email: TBA.

LAR 388: Seminar

Professional Design Practice in Baroque Rome: Landscape, Urbanism, Architecture

Francesco Borromini.

Fall Semester 2013

* Course Unique Numbers

LAR 388 [01805], ARC 388 R [01245], ARC 368 R [00960].

Course Description

Design is a synthetic act, and studying or rehearsing how a design comes together in a specific historical setting gives the student deeper insight into how synthesis is achieved. This inter- disciplinary seminar on the City of Rome during the Baroque period (c. 1600-1700) focuses this year on the life and works of one architect as a means to explore the act of design synthesis, in the context of the urban, landscape, and architectural dimensions of a great city. The seminar takes Francesco Borromini, one of seventeenth-century Papal Rome's greatest architects and draughtsmen, as the departure point for exploring professional practices and disciplines at a paradigmatic moment in the history of design, when landscape architecture, urbanism, and architecture were the practices of a single designer, but the turn to specializations was already appearing.

Set against the scenery of Rome, one of Europe's monumental Baroque cities, epitomized by the seventeenth-century Piazza Navona with its fountains and sculptures, the "spine" of the seminar follows the chronological study of Borromini's major works (1630s to 1660s)--among them, San Carlino alle Quattro Fontane and the Oratory of San Filippo Neri for religious communities, and Sant'Ivo alla Sapienza for the Roman University; chapels such as the Cappella dei Re' Magi; designs for the Barberini, Carpegna, and Pamphilj palaces. Borromini's works were the source of inspiration for a great many European and Latin American architects through the eighteenth century.

These works are also considered synchronically within the broader contexts of Roman Baroque society and its papal monarchy in a period of triumphant Catholic Counter-Reformation, as well as diachronically with a view to ancient, medieval, and Renaissance precedents, from Hadrian's Villa to Gothic architecture to Palladio. Borromini's complex works are at the same time profoundly emotional and rigorously intellectual and serious, and the specificity of their conceptualization is considered in illuminating contrast to the jubilant, dynamic, and dramatic creations of his so-called professional rival in Rome, the sculptor-architect Gian Lorenzo Bernini.

Students are immersed in the richness of design culture in Baroque Rome, a period of exceptional artistic innovation, connected on the one hand to modernity, to new scientific studies of

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perception, optics and light, machinery, and botany, and on the other hand to antiquity, to remarkable archaeological and antiquarian studies. Recent, exceptional historical research on Roman society provides understanding of the social categories fundamental to Baroque Rome's urban, architectural, and landscape development--rural and urban, public and private, religious and secular spaces; men and women; vernacular and elite lives; patronage and social networks of the designers.

Seminar meetings and our discussions, including sessions with rare books, prints, and maps in the Harry Ransom Center and one session in the Prints & Drawings Room of the Blanton Art Museum, focus on topics that contextualize Borromini.

Goals of the Seminar

The purpose is to give students an understanding of the synthetic act of design and a strong inter- disciplinary grounding in one of the key historical periods of design and in advanced research methods. As well, the student is gain strong intellectual, conceptual, and historical frameworks with which to approach design creatively today, by rehearsing the translation of the synthetic act of design from the past to the present and by understanding how the design profession carves its territory of concerns and interests, from concrete and technological to spiritual and philosophical. This is accomplished by having students become deeply familiar with the life's work of one outstanding architect in history, Francesco Borromini in seventeenth-century Rome, and thereby to encourage reflection on professional design practice and the status of the architect/landscape architect/urban designer today.

Class attendance is mandatory, and forms part of your grade for this course.

It is mandatory, unless exemption has been given in advance by the instructor for excusable absences. Students with two (2) or more unexcused absences are subject to lowering of the final grade for the course. Please contact the instructor by email in advance, if you expect to be absent. The instructor records attendance.

Time Commitment of Students:

Includes class time (lectures and discussions), plus about three-four (3-4) hours (varies) of weekly reading. Additional time for study, reading and preparation for projects. The course assignments are spaced across the semester, and the instructor attempts to accomodate deadlines for the class in view of specific studio deadlines that students may have.

Basis of Final Grade and Assignments:

See at end of this Syllabus for details of Assignments # 1 and # 2. The work in this Seminar is structured so that the first months of the semester have most assignments, while the last month (November) frees you to work on your Final Project.

1. Class Participation: Discussions/questions, and 2-page typed autobiographical essay..15 % Essay due Sept. 5, 2013. [Assignment 1 handed out Aug. 29, 2013.]

2. Short Project: Essay, 4 typed pages plus bibliography and illustrations, on "Borromini and 17th century Roman / Italian Culture"...... 15 % Essay due Oct. 10, 2013. [Assignment 2 handed out Sept. 12, 2013.]

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3. Short Project: Report in class, 15-20 minutes, with PowerPoint illustrations, on a book or essay, or specific topic. See Syllabus entries on this. The goal is to raise questions and stimulate discussion on the topic, drawings, or building presented...... 25 % Reports are scheduled throughout the semester--see Syllabus. Students agree on the topic with the instructor 2 weeks in advance.

4. Final Project: A final essay of 10 typed pages plus illustrations, notes, and bibliography on a topic of the student's interest. Ph.D. and Master's degree students in architectural history write a 20 page paper. Students may opt to make a model, which must be accompanied by an interpretative essay of 3 pages...... 45 % S In class, on Nov. 21, 2013, students will informally and briefly present their final project in a progress report: the goal is to get feedback from the seminar group and the instructor, before turning in the project Dec. 5. Deadline: Dec. 5, 2013. Final Project due to Instructor in Class.

Grading Policy and Grade Descriptions:

A = excellent work that displays conceptual rigor, original research, and insights and ideas that tend to go beyond those presented by the readings or by the instructor in class; excellent writing and superb presentation of the project in terms of Bibliography, Notes, Images. The assignment or essay has a rigorously supported argument. Readings are strongly engaged in the assignment, and the student takes a position with respect to them, successfully critiquing or building on them.

B = good work that displays thorough understanding of the material and successful completion of the assignment, very good writing, diligent research, fine presentation of the project in terms of Bibliography, Notes, Images. The assignment or essay has an argument that is clear to the reader. Readings are very well engaged in the assignment.

C = satisfactory work that meets the minimum requirements of the assignment, displays no further pursuit of ideas presented in class and in readings, displays limitations in skills, writing, conceptualization, and presentation of project. The argument of the essay or assignment is not clearly presented. Readings are minimally brought into the assignment.

D = poor work that does not meet the minimum requirements of the assignment and does not meet the level of skills required to complete the assignment in terms of conceptualization, writing, and presentation. No attempt to structure an argument is made. Readings are not well understood and are not even minimally brought into the assignment.

F = unacceptable, failing work that includes incomplete assignment or major parts of it, unacceptable delays in turning in the work, unsuccessful performance overall.

Honor Code for the University of Texas:

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The core values of The University of Texas at Austin are learning, discovery, freedom, leadership, individual opportunity, and responsibility. Each member of the university is expected to uphold these values through integrity, honesty, trust, fairness, and respect toward peers and communicty.

Honor Code for this Course:

Each student in this course is expected to abide by this Honor Code, and any work submitted by a student will be the student's own work. You are encouraged to study together and to discuss information and concepts covered in this course, but you should never copy from one another or from anyone else, be it from printed and/or published work, or from any digital form or from the internet. Any transgressors on an assignment shall receive a "Fail" Grade for that assignment.

Important Rules:

All assignments not done in class must be typed. Bibliography, foot/endnotes, and images must ALWAYS be included.

All submissions must be paginated.

All submissions must be preceded by a title-page with: --name of student --title of project submitted --name and number of course --name of instructor --date of submission.

All assignments MUST be submitted to in two formats: --hard copy and --pdf format: email the pdf to the instructor or T.A. The instructor will not accept assignments sent only by email.

All presentations (Powerpoint, etc) in class MUST be emailed or submitted on CD.

Analytic drawings and any models must be accompanied by information/data indicating the course number, the student's name, the name and date of the design, and the scale in feet/inches or meters/ centimeters.

NO late work will be accepted: A "Fail" Grade will be given for late assignments.

Academic Accomodations:

The University of Texas at Austin provides upon request appropriate academic accommodations for qualified students with disabilities. For more information, please contact the Office of the Dean of Students, as soon as possible, at (512) 471-6259 or (512) 471-6441 TTY, also to request an official letter outlining authorized accommodations.

Readings on Blackboard; Course Reserves at Architecture Library:

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Required Readings are on Blackboard, at http://courses.utexas.edu, for this Course, accessible per your Section: LAR 388, ARC 388 R, or ARC 368 R. For your research projects and for useful images, most of these Required Readings and many other books have been placed on Reserve for you in the Architecture & Planning Library. Because it may hard to complete all of the Required Readings on time, use the "Priority Rule": at a minimum, read the Reading(s) highlighted in bold for each Seminar meeting. Readings highlighted in bold will be discussed on the date of that Seminar (date at which the Readings are listed).

Textbooks:

Students are strongly encouraged, but not required, to buy the basic paperback textbook for this Seminar, which can be found in new and second-hand copies on www.amazon.com and www.abebooks.com; www.abebooks.com and www.bookfinder.com are highly recommended for finding cheap copies: Blunt, Anthony. Borromini (Cambridge, MA: Harvard University Press, 1979).

Student may also wish to buy other relevant books for background, also in cheap paperbacks: Ackerman, James S. The Architecture of Michelangelo (Harmondsworth, Middlesex, UK: Penguin Books, 1971); later editions, include 2nd ed., University of Chicago Press, 1986. Hopkins, Andrew. Italian Architecture from Michelangelo to Borromini (London: Thames & Hudson, 2002). Wittkower, Rudolf. Art and Architecture in Italy 1600-1750, 3rd. ed., (Baltimore, 1975). Older editions are in one volume hardback or paperbacks. Most recent revision (New Haven: Yale University Press, 1999), 3 vols., edited by Joseph Connors and Jennifer Montagu. See new Introduction and extensive new bibliography for Rome.

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Schedule of the Seminar Meetings:

*

Part I: Borromini's Works in their Roman Context:

8/29/13 Seminar 1: Introduction. The Rome of Francesco Borromini, the Eternal City. Borromini's Life, Works, and Afterlife. Why Study Borromini and the Baroque? A Tour of Papal Rome in the Seventeenth Century.

Assignment 1 handed out in class: intellectual autobiography and research methods.

9/05/13 Seminar 2: Borromini's Key Works, An Overview: Locating Borromini's Buildings on the Maps of Rome. Borromini, 1620-1630s. From Beginnings to Becoming a Professional Architect, I: St. Peter's Basilica and the Baldacchino, Palazzo Barberini, and San Carlino alle Quattro Fontane.

Assignment 1 due today in class: intellectual autobiography and research methods.

9/12/13 Seminar 3: Borromini, 1630s-1640s. Becoming a Professional Architect, II. San Carlino: Nature, Number, and Ornament--An Architecture of the Senses. Blanton Museum of Art: Drawing, the Education of the Architect. Ornament in the Arts of Borromini's Rome. Drawing in Order to Know and Reveal. The Publication of Professional Practice: Media, Techniques, and the Arts of Representation in the Age of the Baroque. G.B. Piranesi and the Printed "Vedute di Roma." The Leo Steinberg Collection of prints at the Blanton Museum of Art.

Meet 2pm in SUT 3.112, and 3:15pm at the Blanton Museum of Art, Receptionist's Desk, foyer: Study trip to the Prints and Drawings Room; viewing of the original G.B. Nolli map of Rome, 1748.

9/19/13 Seminar 4: Borromini, 1630s-1640s. Mastering Professional Practice and the Art of the Plan: Palazzo Carpegna and Sant'Ivo alla Sapienza. The Broad Scope of Professional Practice: from Study of the Antique to Water Infrastructure.

Two student reports on architects and fountains in Rome and K. Rinne's book, The Waters of Rome (2010).

9/26/13 Seminar 5: Borromini, 1630s-1640s. Building the Casa: the Oratory/Casa of San Filippo Neri and Palazzo Falconieri. Institutions and Families in Rome.

Two student reports on the façade of Borromini's Oratory and his drawings for it.

10/03/13 Seminar 6: The Antique and the Modern as Teachers: What the World of Books Meant for Borromini and his Patrons: Roman Libraries. The Modern Literature of Professional Practice, Antiquarian and Botanical/Nature Studies.

Meet 2pm in SUT 3.112 [we also visit the instructor's library of books, in SUT 3.138], and 3pm at the Harry Ransom Center, upstairs, 2nd floor, Receptionist's Desk: Study trip to the Rare Book Library.

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10/10/13 Seminar 7: Borromini, 1640s-1650s. The Patronage of Pope Innocent X Pamphilj and his Family. Palazzo Pamphilj and Sant'Agnese in Piazza Navona, Villa Pamphilj on the Janiculum Hill.

Assignment 2 due today in class: 4-page essay on Borromini and 17th-century Roman/Italian culture. Please put page numbers in esssay, plus references and illustrations!

10/17/13 Seminar 8: Borromini, 1640s-1660s. Religious Building and Institutions: San Giovanni in Laterano, Santa Maria dei Sette Dolori, Completing Sant'Ivo alla Sapienza. The Larger Context of Roman Art and Architecture: Bernini's Piazza San Pietro and Other Works.

Two student reports, e.g.: on architectural language, or number, geometry, mathematics in Palladio, Michelangelo or Borromini.

Meet 2pm in SUT 3.112, and 3:15pm at the Harry Ransom Center, upstairs, 2nd floor, Receptionist's Desk: Study trip to the Rare Book Library.

10/24/13 Seminar 9: Borromini, 1650s-1660s, to the End. Collegio di Propaganda Fide and Cappella dei Rè Magi, San Carlino's Façade. The Evolution of Borromini's Urbanist-Architectural Language. Borromini and Bernini, Designing the Urban Context. How to Terminate a Building with a Roof-line: Borromini and Others. Returning to the Maps of Rome: Falda's Map of 1676, Nolli's of 1748.

Three student reports, e.g.: Borromini's Collegio di Propaganda Fide; his Chapel of the Rè Magi (Three Kings); Bernini's Colonnades and Piazza San Pietro; Roof-lines in Borromini and Other Architects in Rome.

Part II: Conceptualization, Making, and Experience of the Work: Categories from Material to Perceptual and Philosophical:

10/31/13 Seminar 10: Borromini and "The Great Book of Nature" in Galileo Galilei's Rome. The New Science in the Christian Capital. The Academy of the Lynxes.

Two student reports on a building technology, a technical/scientific instrument or process, and architectural design (construction techniques; early telescopes, theodolites, etc.).

Meet 2pm in SUT 3.112, and 3:15pm at the Harry Ransom Center, upstairs, 2nd floor, Receptionist's Desk: Study trip to the Rare Book Library.

11/07/13 Seminar 11: In the Eyes, Touch, and Ears of the Beholder--Materiality, Ephemerality, Color, and Light. Architecture, the Senses, and the Emotions. Perception and Experience in Art, Architecture, and the City. Borromini's, Bernini's, and Pietro da Cortona's Works in the Contexts of Roman Baroque Arts. Baroque Hybridity, Illusionism, and Theater.

Four student reports, e.g. select: on materials, light/shadow, color; on design and any of the five senses; on Bernini's Cornaro Chapel or Four Rivers Fountain in Piazza Navona, etc.

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11/14/13 Seminar 12: Nature in the City of Borromini: Hybridity and Transposition in Roman Palaces, Villas, and Gardens. Indoor/Outdoor Mediating Spaces: Belvederes, Loggias, Balustrades.

Meet 2pm in SUT 3.112, and 3:15pm at the Harry Ransom Center, upstairs, 2nd floor, Receptionist's Desk: Study trip to the Rare Book Library.

11/21/13 Seminar 13: The Iconography of Architecture: How were Borromini's Buildings Read? How did They/do We interpret Meanings in Buildings, Gardens, and Urban Spaces? What is Meaning in Architecture? Broad Discussion.

Students' very informal and brief progress reports in class on their final projects--feedback from the group: to be determined.

11/28/13 Thanksgiving Holiday: NO CLASS.

12/05/13 Seminar 14: Conclusions to the Course. Borromini and Beyond: The Afterlife. Historiography: Baroque Rome through the Ages. François Mansart in Paris, Borromini in Rome, Fischer von Erlach in Vienna: Kin Souls. Borromini's Ambitions for Publication: His Opus Architectonicum in the Context of Architectural Publications and Self-Representation.

Student reports, if not done on 11/21/13: to be determined. Students may choose to report on Piranesi or other architects and printed views at the Harry Ransom Center visit.

Final Assignment or Model due today in class: including notes, illustrations and bibliography. Please put page numbers in essay!

Meet 2pm in SUT 3.112, and 3:15pm at the Harry Ransom Center, upstairs, 2nd floor, Receptionist's Desk: Study trip to the Rare Book Library.

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Schedule of the Readings:

* N.B.: Required Readings are on Blackboard for this Course, accessible per your Section and unique course number for: LAR 388, ARC 388 R, or ARC 368 R. Some Recommended Readings are also on Blackboard, where indicated "On Blackboard."

For your research projects and for useful images, most of these Required Readings and many other books have been placed on Reserve for you in the Architecture & Planning Library. Because it is hard to complete all of the Required Readings, use the "Priority Rule": at a minimum, read the Reading(s) highlighted in bold for each Seminar Meeting. Readings highlighted in bold will be discussed on the date of that Seminar (date at which the Readings are listed).

Each week, use the Schematic Chronology of Borromini's works to locate the building(s) studied that week: Beneš, Mirka. "Francesco Borromini. Schematic Chronology," handout: peruse dates for buildings by Borromini, relevant to Seminar Meetings.

* *

Useful Website--For Maps of Rome, esp. the Nolli Map of Rome (1748):

http://nolli.oregon.edu [you can navigate to building types and specific areas of Rome; an extremely helpful website!]

Part I: Borromini's Works in their Roman Context:

8/29/13 Seminar 1: Introduction. The Rome of Francesco Borromini, the Eternal City. Borromini's Life, Works, and Afterlife. Why Study Borromini and the Baroque? A Tour of Papal Rome in the Seventeenth Century. Mapping Rome, the Christian Capital. Several Geographies: Nodes of Power in Rome, Religiosity, Water, Architectural Practice, Scientific Study and Antiquarianism, Roman Families and Dynasties, the Street and Everyday Life, Leisure and Villa Gardens in Baroque Rome.

Required: These readings: the first, by the instructor, treats the issue of teaching/learning the history of architecture/landscape architecture in the school of design--why do we study history?; the second, by the 17th century artist and critic G. B. Passeri, introduces you to the vita or life of the architect Borromini, gives you an idea of the genre of biography of the artist from the Renaissance on, and lists Borromini's key works--from a 17th c. Roman perspective; the third, by the superb architectural historian Howard Hibbard, gives you a lovely introduction to the papal Rome ca. 1600.

Beneš, Mirka. “The Roles of Teaching the History of Landscape Architecture,” Platform, The University of Texas at Austin, School of Architecture (Spring/Summer 2008), 4- 5. Hibbard, Howard. Carlo Maderno and Roman architecture, 1580-1630 (London: Zwemmer- University Park, PA: Pennsylvania State University Press, 1971), "Introduction," 5-6; Ch. I: "Rome and the Popes in the Later Cinquecento," 7-21.

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Passeri, Giovanni Battista. (17th c.) "Life of Cavaliere Borromini Architect," English transl. (by M. Beneš) of "Vita del Cavaliere Francesco Boromini Architetto," ca. 1673, certainly by 1670-80, from Jacob Hess, ed. Die Künstler-biographien von Giovanni Battista Passeri (Vienna-Leipzig, 1934), reprint 1995, 359-366.

9/05/13 Seminar 2: Borromini's Key Works, An Overview: Locating Borromini's Buildings on the Maps of Rome. Borromini, 1620-1630s. From Beginnings to Becoming a Professional Architect, I: St. Peter's Basilica and the Baldacchino, Palazzo Barberini, and San Carlino alle Quattro Fontane. Professional Training, Intellectual Education, and Learning on the Job: Borromini's Beginnings at the "Cantieri" (Workshops) of St. Peter's and Palazzo Barberini. Borromini Learns about Modern Architecture in Rome, especially Michelangelo. Church and Monastery, Palace and Villa, 1500 to 1630. Introducing San Carlino, Close Up and in Context.

Assignment 1 due today in class: intellectual autobiography and research methods.

Required: These readings give you two accounts by Blunt, a distinguished art historian of traditional but rigorous kind: one, an introduction to the work of the three key architects in Baroque Rome-- Gianlorenzo Bernini, Borromini, and Pietro da Cortona; two, on Borromini's early training. Then, you read a recent and very lively account of Francesco Borromini's life and work by Joseph Connors, an architectural historian and the greatest modern scholar of Borromini--you will encounter Connors' work frequently in this seminar.

Blunt, Anthony. Roman Baroque (London: Athene Arts, 2001), 7-119. [* many excellent 17th and 18th-century views and plans of Roman architecture, and small, short pages! You can read this across the semester]. [background reading] Blunt, Anthony. Borromini (Cambridge, MA: Harvard University Press, 1979), Chap. 1: "Birth and Early Training," 13-25. Connors, Joseph. "Francesco Borromini: the life, 1599-1667," his orig. English text, published in Italian translation as: Joseph Connors, "Francesco Borromini: la vita 1599-1667," in R. Bösel-C. Frommel, eds. Borromini e l'universo barocco, exh. cat. (Milan: Electa, 1999), 7-21.

9/12/13 Seminar 3: Borromini, 1630s-1640s. Becoming a Professional Architect, II. San Carlino: Nature, Number, and Ornament--An Architecture of the Senses. Education of the Architect, Material, Natural Philosophical, and Intellectual. Antiquity and Modern Science: Cassiano Dal Pozzo and Encyclopaedic Knowledge of Antiquity and of Nature's Flora and Fauna. The Study of Hadrian's Villa from Pirro Ligorio to Borromini. Ancient Marbles and Modern Materials. Antiquarian Knowledge as Generative Inspiration: San Carlino as a Modern Antique Building.

Blanton Museum of Art: Drawing, the Education of the Architect. Ornament in the Arts of Borromini's Rome. Drawing in Order to Know and Reveal. The Publication of Professional Practice: Media, Techniques, and the Arts of Representation in the Age of the Baroque. The Roles and Techniques of Drawing. Conceptualization from Pencil, Ink, and Sketch, to Presentation. The

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Figurative and the Architectural: Sculpture and Architectural Ornament. Printmaking and the Printed View in Baroque Rome--the "Vedute di Roma": Israël Silvestre, Stefano Della Bella, G.B. Falda, G.B. Piranesi. The Leo Steinberg Collections of Prints.

Meet 2pm in SUT 3.112, and 3:15pm at the Blanton Museum of Art, Receptionist's Desk, foyer: Study trip to the Prints and Drawings Room; viewing of the original G.B. Nolli map of Rome, 1748.

Required: These readings: the minimum reading here includes my Schematic Chronology for Borromini-- focus on the years 1620 to 1645; Blunt gives you the overview for today's seminar; Hibbard's succinct account, in Recommended Readings, gives you background for our class discussion. The two articles by Connors are brilliant and fundamental--try hard to get them read during this week; otherwise, be sure to read them before you complete any Assignments for the course.

Beneš, Mirka. "Francesco Borromini. Schematic Chronology," handout: peruse dates for buildings by Borromini, relevant to Seminar Meetings. Blunt, Anthony. Borromini (Cambridge, MA: Harvard University Press, 1979), Chap. 3: "San Carlo alle Quattro Fontane," 52-84. Connors, Joseph. "A sacred theorem: San Carlo alle Quattro Fontane," orig. English text of his "Un teorema sacro: San Carlo alle Quattro Fontane," in Il giovane Borromini, exh. cat., eds. M. Kahn-Rossi and M. Franciolli (Milan: Skira, 1999), 459-495. [* both the Italian text, with images, and the English original typescript are on Blackboard.] See Blackboard Scans of Borromini Drawings: San Carlino alle Quattro Fontane.

9/19/13 Seminar 4: Borromini, 1630s-1640s. Mastering Professional Practice and the Art of the Plan: Palazzo Carpegna and Sant'Ivo alla Sapienza. Studying the Treatises: Alberti to Palladio and Scamozzi. Studying the Antique in situ in Baroque Rome: from Bramante to Michelangelo and Palladio. "Numismatic" and "Paper" Architecture in Baroque Rome. The Broad Scope of Professional Practice: from Study of the Antique to Water Infrastructure and Fountains.

Two student reports on architects and fountains in Rome, and K. Rinne's book, The Waters of Rome (2010), listed below.

Required: Blunt, Anthony. Borromini (Cambridge, MA: Harvard University Press, 1979), Chap. 5: "S. Ivo della Sapienza and S. Maria dei Sette Dolori," 111-132; Chap. 7: "Domestic Architecture," only pp. 161-169. Connors, Joseph. "S. Ivo alla Sapienza. The First Three Minutes," Journal of the Society of Architectural Historians 55:1 (March 1996), 38-57. Waddy, Patricia. "The Roman Apartment from the Sixteenth to the Seventeenth Century," in Architecture et vie sociale. L'organisation intérieure des grandes demeures à la fin du Moyen Age et à la Renaissance. Actes du colloque tenu à Tours du 6 au 10 juin 1988, ed. Jean Guillaume (Paris: Picard, 1994), 155-166. See Blackboard Scans of Borromini Drawings: San Carlino alle Quattro Fontane; Palazzo Carpegna; Sant'Ivo alla Sapienza.

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9/26/13 Seminar 5: Borromini, 1630s-1640s. Building the Casa: the Oratory/Casa of San Filippo Neri and Palazzo Falconieri. Introducing the Roman Oratory, the Casa di San Filippo, and the Vallicella Library. Introducing Palazzo Falconieri and the Dynastic Family in Rome, Secular and Ecclesiastical. The Religious Orders and the Counter-Reformation. "Faces" of Buildings and how to "Dress" Them. Designing Interiors: Gradations of Public to Private Life. Planning Distribution and Required Functions of Buildings and Gardens, and How to Satisfy Them in Design. The "Iconography" of Architecture--Exterior and Interior. Borromini's Patrons in Roman Society.

Two student reports on the façade of Borromini's Oratory and his drawings for it; on the urban context of the Oratory and Casa of San Filippo Neri.

Required: Blunt, Anthony. Borromini (Cambridge, MA: Harvard University Press, 1979), Chap. 4: "The Oratory of S. Filippo Neri and the Filomarino Altar," 85-110. Connors, Joseph. Borromini and the Roman Oratory. Style and Society (New York: Architectural History Foundation-MIT Press, 1980), Introduction, 1-4; Chap. 3: "Borromini's Oratory and Facade," 23-39; Chap. 5: "Finance, Function, Imagery," 59-79; Chap. 6: "The Urban Context of the Casa," 81-93; Chap. 7: "Conclusion," 95-100; and End Notes to Chaps. 6 and 7. Reread this article: Waddy, Patricia. "The Roman Apartment from the Sixteenth to the Seventeenth Century," in Architecture et vie sociale. L'organisation intérieure des grandes demeures à la fin du Moyen Age et à la Renaissance. Actes du colloque tenu à Tours du 6 au 10 juin 1988, ed. Jean Guillaume (Paris: Picard, 1994), 155-166. See Blackboard Scans of Borromini Drawings: The Oratory and Casa dei Filippini.

10/03/13 Seminar 6: The Antique and the Modern as Teachers: What the World of Books Meant for Borromini and his Patrons: Roman Libraries. Antiquarian Studies and the Modern Literature of Professional Practice. Learning from Books: Guidebooks to Rome, Architectural Treatises, Engineering Exploits, Botanical Treatises (Castore Durante), Hydraulogy, Perspective and Construction Manuals, Building Monographs. Design Practice and the Study of Antiquity in Rome and Latium. Architects' Libraries and Collections.

Meet 2pm in SUT 3.112, [discussion of required readings; we also visit the instructor's library of books, in SUT 3.138], and 3pm at the Harry Ransom Center, upstairs, 2nd floor, Receptionist's Desk: Study trip to the Rare Book Library.

Required: Blunt, Anthony. Borromini (Cambridge, MA: Harvard University Press, 1979), Chap. 2: "Sources and Theories," 13-25. Blunt, Anthony. "Baroque architecture and classical antiquity," in Classical influences on European culture, A.D. 1500-1700, ed. R.R. Bolgar (Cambridge: Cambridge University Press, 1976), 349-354. Required Readings for discussion (Connors 1992 and McPhee 1999): Connors, Joseph. "Virtuoso Architecture in Cassiano's Rome," in Cassiano Dal Pozzo's Paper Museum, vol. II, (Milan: Olivetti, 1992), 23-40.

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McPhee, Sarah. "The Architect as Reader," Journal of the Society of Architectural Historians 58:3 (September 1999), pp. 454-461.

10/10/13 Seminar 7: Borromini, 1640s-1650s. The Patronage of Pope Innocent X Pamphilj and his Family. Palazzo Pamphilj and Sant'Agnese in Piazza Navona. Palace and Villa: Palazzo Pamphilj in Navona and Villa Pamphilj on the Janiculum Hill. The Contexts: Roman Families, Palace Planning, and Villa and Garden Design. Imagery and Social Distinction of the Family in the Roman Urban Context. Borromini Urbanist: the Street, the Façade, the Piazza--from the Oratory and San Carlino to the Palaces. The "Maestri di Strada": Urban Interventions and the Masters of the Street.

Assignment 2 due today in class: 4-page essay on Borromini and 17th-century Roman/Italian culture. Please put page numbers in essay!

Required: Blunt, Anthony. Borromini (Cambridge, MA: Harvard University Press, 1979), Chap. 7: "Domestic Architecture," 161-182. Connors, Joseph. Book review of two books on Spada family and Palazzo Spada, in: Journal of the Society of Architectural Historians 38:2 (May 1979), 193-196. Lavin, Irving. ed. Drawings by Gianlorenzo Bernini, exhibition catalogue (Princeton, NJ: Art Museum, Princeton University, 1981), 108-119 (Four Rivers Fountain). Leone, Stephanie C. The Palazzo Pamphilj in Piazza Navona: Constructing Identity in Early Modern Rome (Turnhout, Belgium: Brepols, 2008), Chap. 6: "Expansion: The Papal Family Palace," read only pp. 153-212 of 153-246. See Blackboard Scans of Borromini Drawings: Palazzo Carpegna, Palazzo Falconieri, Palazzo Spada, Piazza Navona.

10/17/13 Seminar 8: Borromini, 1640s-1660s. Religious Building and Institutions: San Giovanni in Laterano, Santa Maria dei Sette Dolori, Completing Sant'Ivo alla Sapienza. Drawing, Designing, and Drawing More: Borromini and Michelangelo.

Two student reports, select e.g.: --on the article by F. Benelli 2009, listed in Recommended on Michelangelo. --on the article by C. Brothers 2012, listed in Recommended on Michelangelo, and/or her book of 2008, listed below. --on the article by H. Burns 2012, listed in Recommended on Michelangelo, on Palladio and Michelangelo as architectural draughtsmen, a comparison. --on Borromini's drawings (selected) for a building and on his drawing process; --on Michelangelo's design for the foyer of the Laurentian Library, Florence, or other building, and on his drawing process. --on Michelangelo's design for the Capitoline Palaces and Capitoline Hill. --on number, geometry, mathematics in Palladio, or Michelangelo, or Borromini.

Meet 2pm in SUT 3.112, and 3:15pm at the Harry Ransom Center, upstairs, 2nd floor, Receptionist's Desk: Study trip to the Rare Book Library.

Required:

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Blunt, Anthony. Borromini (Cambridge, MA: Harvard University Press, 1979), Chap. 5: "S. Ivo della Sapienza...," 111-132; Chap. 6: "S. Giovanni in Laterano and S. Agnese in Piazza Navona," 133-160; Ch. 8: "The Last Phase," 182-209. Connors, Joseph. "Borromini's S. Ivo alla Sapienza: the spiral," Burlington Magazine 138 (1996), 668-82. Connors, Joseph, and Roca de Amicis, Augusto. "A new plan by Borromini for the Lateran basilica," Burlington Magazine 146 (August 2004), 526-533. See Blackboard Scans of Borromini Drawings: Sant'Ivo alla Sapienza, San Giovanni in Laterano.

10/24/13 Seminar 9: Borromini, 1650s-1660s, to the End. Collegio di Propaganda Fide and Cappella dei Rè Magi, Sant'Agnese, San Carlino's Façade. The Evolution of Borromini's Urbanist-Architectural Language: Comparisons across his Career. Bernini and Borromini in Pope Alexander VII's Urban Development of a New Rome. Bernini's Piazza San Pietro. Comparisons with Guarino Guarini, San Lorenzo, and the SS. Sindone in Turin. How to Terminate a Building with a Roof-line: Borromini and Others. Returning to the Maps of Rome: Falda's Map of 1676, Nolli's of 1748.

Three student reports, e.g.: --Borromini's Collegio di Propaganda Fide; his Chapel of the Rè Magi (Three Kings); --Bernini's Colonnades and Piazza San Pietro; --Roof-lines in Borromini and Other Architects in Rome.

Required: Connors, Joseph and Barbara Jatta, eds. Vedute romane di Lievin Cruyl: Paesaggio urbano sotto Alessandro VII, exh.cat., (Rome: American Academy, 1989), study selected drawings / views. Connors, Joseph. "Alliance and Enmity in Roman Baroque Urbanism," Römisches Jahrbuch der Bibliotheca Hertziana, 25 (1989), 205-294. [* read a section of this very long essay, or at least of one case study, a piazza] Leone, Stephanie C. The Palazzo Pamphilj in Piazza Navona: Constructing Identity in Early Modern Rome (Turnhout, Belgium: Brepols, 2008), Chap. 7: "Endings. Piazza Navona as Representation of Rule," 283-295 (and End Notes, 301-303). See Blackboard Scans of Borromini Drawings: San Giovanni in Laterano, Collegio di Propaganda Fide.

Part II: Conceptualization, Making, and Experience of the Work: Categories from Material to Perceptual and Philosophical:

10/31/13 Seminar 10: Borromini and "The Great Book of Nature" in Galileo Galilei's Rome. The New Science in the Christian Capital. Religion and Science, Antiquity and Modernity: Two Sides of a Coin. Galileo and the Academy of the Lynxes. Curiosity Cabinets, Architects' Collections, Cassiano Dal Pozzo (1588- 1657) and his Paper Museum, from Antiquity to Science. Technical and Scientific Education of the Architect. Optics, Vision, and the Natural World-- Stone, Floral, and Vegetal. Gardens in Rome, Study of Plants, & Rare Plant/Flower Collections.

Prof. Mirka Beneš UTexas School of Architecture LAR388/ARC 388/368R Fall 2013 p. 15

Two student reports, e.g.: --on one of the readings for today: Camerota 2008, e.g. Marconi 2006. --on a building technology, a technical/scientific instrument or process, and architectural design (construction techniques; early telescopes, theodolites, etc.).

Meet 2pm in SUT 3.112, and 3:15pm at the Harry Ransom Center, upstairs, 2nd floor, Receptionist's Desk: Study trip to the Rare Book Library.

Required: Beaven, Lisa. "Claude Lorrain's Harbour Scenes: Sun, Science and the Theatre in the Barberini Years," in Art, Site and Spectacle. Studies in Early Modern Visual Culture, ed. David R. Marshall (Victoria, Australia: The University of Melbourne - Fine Arts Network, 2007), 146-161. [Melbourne art journal; 9-10.] Camerota, Filippo. "'The eye of the Sun': Galileo and Pietro Accolti on orthographic projection," in Perspective, Projections & Design. Technologies of Architectural Representation, eds. Mario Carpo and Frédérique Lemerle (London-New York: Routledge, 2008), 115-125. Connors, Joseph. "Virtuoso Architecture in Cassiano's Rome," in Cassiano Dal Pozzo's Paper Museum, vol. II, (Milan: Olivetti, 1992), 23-40. [* re-read for science topic] Findlen, Paula. "Scientific spectacle in Baroque Rome: Athanasius Kircher and the Roman College Museum," Roma moderna e contemporanea III:3 (Sept.-Dec. 1995), 625- 665. Marconi, Nicoletta. "Tradition and technological innovation on Roman building sites from the 16th to the 18th century: construction machines, building practice, and the diffusion of technical knowledge," in Practice and Science in Early Modern Italian Building. Towards an Epistemic History of Architecture, ed. Hermann Schlimme (Milan: Electa, 2006), 137- 152.

11/07/13 Seminar 11: In the Eyes, Touch, and Ears of the Beholder--Materiality, Ephemerality, Color, and Light. Theatricality of the Baroque? Architecture, the Senses, and the Emotions. Perception and Experience in Art, Architecture, and the City. Borromini's, Bernini's, and Pietro da Cortona's Works in the Contexts of Roman Baroque Arts. Baroque Hybridity, Illusionism, and Theater. Materials: Marbles, Turning Wood, Ivory, Jewels, the Lathe. Forming in Stucco. Carving in Marble and Travertine. Vision and Experience. Light and Shadow, Light and Color in Roman Baroque Painting and Sculpture: Caravaggio, Claude Lorrain, Poussin, Bernini. The Sound, Sight, Touch, Taste, Smell of Water.

Four student reports, e.g. select: --on the book edited by Alexander Cowan, The City and the Senses (2007), listed below. --on materials of marble, metal, stucco; on light, shadow, and color in either Palladio or Michelangelo or Borromini, or a case study in Roman architecture; --on architecture, urban design, or gardens, and any of the five senses--sight, touch, smell, hearing, taste in Baroque Rome. --on Bernini's Cornaro Chapel with Saint Theresa at Santa Maria della Vittoria, or other architect-sculptor's work; or Bernini's Four Rivers Fountain, Piazza Navona; --on a fountain in Rome; water in the city, fountains, and the five senses (see Tchikine articles, below). --on an aspect of illusion, hybridity, theater and perspective in Roman urban sites and/or architectural interiors.

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--on architecture and music in Baroque Rome.

Required: Barry, Fabio. "Lux and lumen: the symbolism of real and represented light in the Baroque dome," in Lichtgefüge des 17. Jahrhunderts, ed. Annelie Lütgens (Marburg: Jonas, 2002), 22-37. Careri, Giovanni. Bernini, Flights of Love, the Art of Devotion. Transl. by Linda Lappini (Chicago-London: University of Chicago Press, 1995), Chap. 1: "The Fonseca Chapel," 11-50. Smyth-Pinney, Julia. "Borromini and Benevoli: Architectural and Musical Designs in a Seventeenth-Century Roman Church," in: MIA/AIM (Music in Architecture/Architecture in Music), ed. Michael Benedikt, Center (2013), University of Texas at Austin. Connors, Joseph. "Ars Tornandi: Baroque Architecture and the Lathe," Journal of the Warburg and Courtauld Institutes 53 (1990), 217-236 & plates [read at least a part of this essay]. Republished, in part, in Italian Baroque Art, ed. Susan M. Dixon (Malden, Mass.: Blackwell, 2008). Lavin, Irving. "Bernini's Conception of the Visual Arts: `Un Bel Composto'," in: Italian Baroque Art, ed. Susan M. Dixon (Malden, Mass.: Blackwell, 2008), 51-56.

11/14/13 Seminar 12: Nature in the City of Borromini: Hybridity and Transposition in Roman Palaces, Villas, and Gardens. Indoor/Outdoor Mediating Spaces: Belvederes, Loggias, Balustrades. Mediating Spaces, Botany [Castore Durante and treatises at the HRC], and Good Health. Flora and Fauna in Architectural Structures and Ornament.

Meet 2pm in SUT 3.112, and 3:15pm at the Harry Ransom Center, upstairs, 2nd floor, Receptionist's Desk: Study trip to the Rare Book Library.

Required: Beneš, Mirka. "Pastoralism in the Roman Baroque Villa and in Claude Lorrain: Myths and Realities of the Roman Campagna," in Villas and Gardens in Early Modern Italy and France, eds. Mirka Beneš and Dianne Harris (Cambridge-New York, 2001), 88-113. Russell, Susan. "The Villa Pamphilj on the Janiculum Hill: the garden, the senses and good health in seventeenth-century Rome," in: Sense and the senses in early modern art and cultural practice, eds. Alice E. Sanger and Siv Tove Kulbrandstad Walker (Farham, England-Burlington, VT: Ashgate, 2012), 129-146. Tchikine, Anatole. "Giochi d'acqua: water effects in Renaissance and Baroque Italy," Studies in the History of Gardens and Designed Landscapes 30:1 (January-March 2010), 57-76.

11/21/13 Seminar 13: The Iconography of Architecture: How Were Borromini's Buildings Read? How did They/do We interpret Meanings in Buildings, Villa Gardens, and Urban Spaces? What is Meaning in Architecture? Broad Discussion, including of Contemporary Buildings.

Students' very informal and brief progress reports in class on their final projects--feedback from the group: to be determined.

Student reports and final projects can include: e.g.: --meanings in Roman Baroque architecture and urban contexts. --Peter Zumthor, Herzog & De Meuron, and others, compared to Borromini.

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Required: Beldon Scott, John. "S. Ivo alla Sapienza and Borromini's Symbolic Language," Journal of the Society of Architectural Historians 41 (1982), 294-317. Connors, Joseph. "Borromini's S. Ivo alla Sapienza: the spiral," Burlington Magazine 138 (1996), 668-682. Connors, Joseph. Book review of: Leo Steinberg, Borromini's San Carlo Alle Quattro Fontane (1977), in: Journal of the Society of Architectural Historians 38:3 (October 1979), 283-285. Leone, Stephanie C. The Palazzo Pamphilj in Piazza Navona: Constructing Identity in Early Modern Rome (Turnhout, Belgium: Brepols, 2008), Chap. 7: "Endings. Piazza Navona as Representation of Rule," 247-303. Steinberg, Leo. Borromini's San Carlo alle Quattro Fontane: a study in multiple form and architectural symbolism (New York: Garland, 1977), Ch. VII: "The Iconographic Hypothesis," 287-339.

11/28/13 Thanksgiving Holiday: NO CLASS.

12/05/13 Seminar 14: Conclusions to the Course. Borromini and Beyond: The Afterlife. Historiography: Baroque Rome through the Ages. François Mansart in Paris, Borromini and Piranesi in Rome: Kin Souls. Fischer von Erlach in Vienna. Borromini's Ambitions for Publication: His Opus Architectonicum in the Context of Architectural Publications and Self- Representation. Fischer von Erlach's Sketch of a Historical Architecture (Vienna, 1721). Discussion of Baroque Professional Practice: The Many Roles of the Architect--Surveyor, Water Engineer, Landscape Architect, Builder, Set Designer, Sculptor, Painter.

Student reports: to be determined. Students may choose to report on Piranesi or other architects and printed views at the Harry Ransom Center visit.

Final Assignment or Model due today in class: including notes, illustrations and bibliography.

Meet 2pm in SUT 3.112, and 3:15pm at the Harry Ransom Center, upstairs, 2nd floor, Receptionist's Desk: Study trip to the Rare Book Library.

Required: Blunt, Anthony. Borromini (Cambridge, MA: Harvard University Press, 1979), Ch. 9: "Influence and Reputation," 211-222. [Borromini, Francesco.] "Francesco Borromini," in The Mark J. Millard Architectural Collection, Vol. IV: Italian Books and Spanish books. Fifteenth through Nineteenth Centuries (Texts by Claire Baines, et al.) (Washington, D.C.-New York, 2000), 73-76. Merz, Jörg Martin (incorporating a draft by the late Anthony Blunt). Pietro da Cortona and Roman Baroque Architecture (New Haven-London: Yale University Press, 2008), Chap. 20: "Cortona, Bernini, Borromini and Tradition," 245-253. Raspe, Martin. "The final problem: Borromini's failed publication project and his suicide," Annali di architettura no. 13 (2001), 121-136. Steinberg, Leo. Borromini's San Carlo alle Quattro Fontane: a study in multiple form and architectural symbolism (New York: Garland, 1977), Ch. VIII: "The Artist," 341-396.

Prof. Mirka Beneš UTexas School of Architecture LAR388/ARC 388/368R Fall 2013 p. 18

Information Sheet

Name:

Telephone:

Email address:

Mailing Address:

Graduate Students: Program and Year:

Landscape Architecture; Architecture; Urban Design; Italian Studies; Architectural History; History of Art;

Undergraduates: Major and Year:

Background and courses in any of the following:

Art (painting, graphics, sculpture, etc.):

Theory (of architecture, art, literature, film, landscape, etc.):

History of architecture and art, esp. Ancient, or Renaissance and Baroque (1500-1700):

History of landscape architecture, esp. Renaissance and Baroque (1500-1700):

History--cultural, social, economic, urban, etc. (antiquity - 1700, 1700 - present):

Travels abroad:

Languages (reading knowledge):

Experience in any of these--graphic analysis, hand or technical drawing, model making:

Reasons for taking this course, or areas of particular interest in it--circle those of interest:

Francesco Borromini as a great architect:

The City of Rome--its urban, architecture, landscape history:

Perception, the senses, and architecture; Materials--stucco, marbles, stones, metals:

Science and technologies in designing architecture, landscape, city:

Italy--cultural, social, art history:

* * *