An Illustrated Essay. The history of architecture and art
“There exist, in the history of architecture and art, in general, particular moments or singular ‘cases’ that assume a critical determining value for the comprehension of entire cultural cycles. We intend to speak of buildings, or of productions that are stylistically unified, that seem to mark a point of passage, a moment of crisis in a culture that… perceives in a confused way the need to go beyond itself, feels the need to verify its own historical coherence, thus giving rise to works that recapitulate in themselves, through their characteristics, the complementary horizons of diverse experiences,..”
Manfredo Tafuri, “Problems of Criticism and Problems of Chronology in Two Monuments from Taormina, Il Palazzo dei Duchi di S. Stefano and La ‘Badia Vecchia’” 1962
Using the semiotic structure (in fact semiotic procedures are called “structuralism”) remark on a particular building, space or ensemble of buildings as signifier, thus present them as a form available to description, then employ analytic devices to exhaustively identify all the signifiedsyou can perceive or that others perceive (but in this case you must thoroughly identify your sources). The signshould then automatically be evident but should be exhaustively documented nonetheless.
This must be your analysis in the end. While you are encouraged to research and react to the opinions and theories of others concerning these constructions, if they exist, in the end the interpretations must be yours and the framework for forming those interpretations should be yours and should be clearly and precisely explained. Method is as important as conclusions.
You are encouraged to take on the role of archaeologist or detective. These are both explorers employing both deductive and inductive methods while appearing to represent the contemplative in one case and the animated in another, while in fact they just perform slightly different forms of the same song.
The essay should be about 1200 words or 4 pages of text, 12 pt. double spaced, with modest illustration(s).
Sources
The following books and articles on our self should help in identifying buildings or spaces of interest and are excellent models for the sort of perspective asked for in this exercise.
Elizabeth Fee, et. al., The Baltimore Book: New Views of Local History (Temple, 1991) pp. 39 – 54, 227 – 249. The book is organized into various areas of the city with maps to significant objects (architectural, urban, historic) arranged in recognition of the political semiotics of each. A good example of the procedures that can be employed as well as exceptional analysis of the urban fabric as narrative.
Sherry H. Olson, Baltimore: The Building of an American City (Johns Hopkins, 1980) Excellent references to both monuments and quotidian structures, urban ensembles and events
Mary Ellen Hayward & Frank R. Shivers, The Architecture of Baltimore: An Illustrated History, (Johns Hopkins, 2004) for many examples, most of them monumental or at least grand in form and conception.
David Harvey, “Chapter 8: Spaces of Utopia,” in Part 3: The Utopian Moment,” in Spaces of Hope, (University of California, 2000) pp. 133 – 196
Aldo Rossi, The Architecture of the City, (MIT Press, 1982) For background in typology, monuments, primary elements, vernacular, etc.
Francis F. Bierne, Baltimore: A Picture History 1858 – 1968 (Maryland Historical Society, 1968)
Mimi Cheng, et. al., Baltimore: Open City (MICA, 2011) catalogue of installations and events at D Center on North Avenue organized by MICA students. Examples of wildly interpretive portrayals of Baltimore.
Michael Hays, “The Postmodern Reassertion of Typologies,” in Unprecedented Realism: The Architecture of Machado and Silvetti, (PAP, 1995) pp. 35 – 37 included with the essay “Domains of Architecture” by Rodolfo Machado – not required but valuable.
Giulio Carlo Argan, “On the Typology of Architecture”, Architectural Design no. 33, (December 1963) pp. 564 – 565 in Kate Nesbitt, Theorizing a New Agenda for Architecture: An Anthology of Architectural Theory, (PAP, 1996) pp. 242 – 246: Particularly from p. 243 and the passage “In the process of comparing…” Argan reinitiated the discussion of type and typology after World War 2 in an effort to reengage history and contemporary architectural form following the dismissal of these phenomenon by the Modern Movement.
Also: Films are excellent media for the discussion and visualization of the issues confronted by this course and the current exercise. Films and video represent the human body, the body politic and the constructed urban fabric in a continual play of movement and position, in Mise en scène that should illuminate sought-after relations.
Course Code
Professor
10th October 2018
The history of architecture and art
Palazzo of the Dukes of Santo Stefano is regarded as an architectural masterpiece of the XIII century due to its ancient outlook and is considered as a Gothic masterpiece since it combines the Sicilian, Arab and Norman architectural designs of the 13thcentury. The palace of Santo Stefano is located in the district of Taormina. The building is a huge imposing structure that resembles an ancient fortress and is believed to have housed the Spuches, a Spanish royal family, as well as other noble families such as the Dukes of Santo Stefano di Brifa and Galati (Manfredo 25). The monument depicts Arabic elements that include the decorative diamond shaped strips. It also comprises of Arabic styled mullioned windows that has arches. Analysis of the building also suggests traces of Norman elements that have been embedded into the squared tower that also has crenellations (Giulio 237). The compound has ancient water well that was constructed to collect rain water. The monument is owned by Taormina city council and is home to the Mazzulo Foundation which is an artistic exhibition center for Messina.
The Dukes of Santo Stefano is encompassed by a fortified ancient perimeter walls that were built in the 14th century. It can be described as a gothic-Sicilian masterpiece that largely comprises of Arab and Norman elements (Giulio 243). The palace is a gigantic square shaped structure, which resembles a fortress. Its design is such that it can be lightened by its multiple decorative elements. It depicts Arab workers through its unique decorative lozenges and lava stone (Giulio 243). Furthermore, the palace is decorated with Syracuse limestone especially on its upper edge of the twin east and north facing sides. The massive architectural masterpiece is also adorned with mullioned windows on its upper floor (Manfredo 33). The mullioned windows have been reinforced with much work of arches. The enormous tower depicts the Norman descent and is place within a square crenellations. The Sicily-Gothic masterpiece is situated within a spacious compound that still retains the ancient well that was used for rain water harvesting. The Palace is located in close proximity to the gate of Porta Catania, along Via De Spuches.
Palazzo Duchi di Santo Stefano is believed to have been constructed between 1200-1300AD and formed part of the medieval walls in the ancient city of Taormina. However, the Palace of the Dukes of Sabto Stefano was also recognized as not only a Gothic-Sicilian artistic masterpiece, but also as a medievalRoman-Gotic style architectural work that largely comprised of Norman-Arabic components. In front of the Palace’s main façade stands anelegant garden that used to collect rainwater for use within the palace. The Palace of deiDuchy di Santo Stefano comprises of three square shaped, but overlapping sections. However, the entrance to the Place’s ground floor comprises of an ogoval arch that is built from square shaped black basalt bricks. Other sections of the ground floor were constructed from a mixture of lavic stones and white granite that is famously referred to as Taormina stones (Manfredo 24).
The second floor of dei duchy di Santo Stefano comprises of four stunning mullioned windows that lightens the entire floor. Two of the beautiful windows face toward the east while the other two face northwards. These mullioned windows have an intricate and decorated structure that has rosettes. Two of the four windows also comprise of tiny trilobe arches and well decorated and framed cordons forming the orgival arches. However, on the uppermost part of thepalace is a wide frieze runs that face eastwards as well as a set of twin facades facing northwards, comprising of lavic decorations mixed with rhombus shaped inlays that has an attractive Syracuse stone finish which forms superb lace inlay (Hays 36). The Palace was destroyed and badly damaged during the Second World War and was later reconstructed and refurbished in the early 1960s after it was acquired by the City of Taormina from the Spuches family.
The Palace houses the work of most respectedsculptural works from renowned artists such as Giuseppe Mazzullo and others. It is one of the remaining ancient architectural monuments that were fortified to provide protection for the noble families that resided within (Manfredo 28). The Place of dukes of Santo Stefano was constructed from a frieze of lozenges in...