Loading

COURSES

To browse the full list of courses available by academic department, visit Courses of Instruction.

FACULTY

To browse the most up-to-date faculty listing, click here.

Search the Catalogue



2012-2014 CATALOGUE

To browse the 2012-2014 Catalogue online as a PDF, click here.

2010-2012 CATALOGUE

To browse the 2010-2012 Catalogue online as a PDF, click here.

2008-2010 CATALOGUE

To browse the 2008-2010 Catalogue online as a PDF, click here.

2006-2008 CATALOGUE

The 2006-2008 Catalogue is still available online as a PDF. To browse it, click here.

FEEDBACK

If you have questions or comments about the new online Catalogue, please send us your feedback.

 

2012-2014 COURSE CATALOGUE : ART AND ARCHITECTURE

The Department of Art and Architecture offers three independent but strongly integrated areas of study: studio art, art history, and architectural studies. Studio art and art history offer majors and minors; architectural studies offers a major only.

The department provides students with the opportunity to delve deeply into visual culture and the built environment. Broadly speaking, students study the role of art and architecture in shaping, embodying, and interpreting cultures from the dawn of human history to the present. More specifically, students study the creative means of discovery and self-expression, and have the opportunity to explore perceptual and conceptual problem solving. Students also learn research methods within an interdisciplinary approach to understanding historical context. Students are encouraged to take advantage of opportunities to study art, art history, and architecture on semester abroad programs, to do internships in the field, and to do independent work at an advanced level. All three areas of study are designed to prepare students for continued education at the graduate school level.

In art history, students choose from an array of courses covering all periods of the art and architecture of America, Europe, Asia, the African diaspora, and the Islamic world. Advanced courses focus more intensively on specific disciplinary and interdisciplinary issues: the life of a major artist, the history of an important movement, gender in art, texts and images, contemporary art and theory, and even exhibit planning and design.

In studio art, students take a rigorous set of foundations courses at the 100 level, and quickly move on to highly focused courses in painting, drawing, printmaking, sculpture, photography, and digital imaging. These are designed to help each student to explore a broad range of concepts, methods, and materials while developing individual ideas and a personal voice.

In architectural studies, students pursue a rigorous multi-disciplinary, holistic approach to design education embracing a liberal arts philosophy, based on the belief that roundly educated individuals make the best architects. Interdisciplinary coursework informs students about the complex relationship between environmental sustainability and human habitation. Students become visual communicators, creative problem solvers, non-linear thinkers, and collaborative learners. The architectural studies major prepares graduates to enter a number of different fields in design, including architecture, landscape architecture, product design, urban design and interior design. Our students minor and double major in a range of areas across the college to complement their career choices in programs such as environmental studies, urban studies, art history, philosophy and a host of other areas.

Students are encouraged to pursue study abroad opportunities for one or two semesters during their junior or senior years. Courses offered on these programs can supplement or be substituted for program requirements. Professors from the department frequently lead semesters abroad in Rome, Italy, and Vietnam. Majors are also encouraged to study in Aix-en-Provence, France; Carmarthen, Wales; Bath and Norwich, England; and India. Architectural studies majors can pursue design studio-based programs in Berlin, Germany; Copenhagen, Denmark; and Lingnan, Hong Kong.
Students in all areas have the opportunity to finish their undergraduate careers with a highly rewarding honors program. The honors program consists of a yearlong course of study, which is developed and pursued, in close collaboration with a faculty mentor.

REQUIREMENTS FOR THE ART HISTORY MAJOR (B.A.)
disciplinary, 12 courses
Two courses from ARTH 101, ARTH 102, ARTH 103, or ARTH 110; at the 200-level or higher, one course in ancient or medieval art, one course in Asian art, one course in Renaissance or Baroque art, one course in American or modern art, a 300-level course, a 400-level capstone course, two art history electives, and two studio art courses. All courses must be passed with a grade of C- or higher. Credit/no credit courses cannot be counted towards the major.

REQUIREMENTS FOR THE ART HISTORY MINOR
disciplinary, 6 courses
ARTH 101, ARTH 102, ARTH 103, or ARTH 110; one studio art course; and four additional art history courses. All courses must be passed with a grade of C- or higher. Credit/no credit courses cannot be counted towards the minor.

REQUIREMENTS FOR THE STUDIO ART MAJOR (B.A.)
disciplinary, 12 courses
Three courses from the following 100-level courses: ARTS 105, ARTS 114 or 115, ARTS 125, ARTS 165; four 200-level studio art courses; two 300-level studio art courses; and three art history courses. All courses must be passed with a grade of C- or higher. Credit/no credit courses cannot be counted towards the major.

REQUIREMENTS FOR THE STUDIO ART MINOR
disciplinary, 6 courses
Two courses from the following 100-level courses: ARTS 105, ARTS 114 or 115, ARTS 125, ARTS 165; two 200- or 300 level studio art courses; one art history course; and one additional studio art course. All courses must be passed with a grade of C- or higher. Credit/no credit courses cannot be counted towards the minor.

REQUIREMENTS FOR THE ARCHITECTURAL STUDIES MAJOR (no minor offered)
interdisciplinary, 14 courses Two studio art courses, three architecture history and theory courses, two architecture design studios, one environmental design and sustainability course, one history course, one urban and social science studies course, and four electives selected in consultation with an adviser in the program. All courses must be passed with a grade of C- or higher. Credit/no credit courses cannot be counted towards the major.

COURSE CONCENTRATIONS
Art History
ARTH 100 Issues in Art
ARTH 101 Introduction to Art: Ancient and Medieval
ARTH 102 Introduction to Western Art: Renaissance through Modern
ARTH 103 Introduction to Asian Art
ARTH 110 Visual Culture
ARTH 201 African-American Art
ARTH 202 Art Collection Internship
ARTH 208 Greek Art and Architecture
ARTH 210 Woman as Image and Image-Maker
ARTH 211 Women and the Visual Arts in 19th Century Europe
ARTH 218 Age of Chivalry
ARTH 221 Early Italian Renaissance Painting
ARTH 222 Women in Renaissance Art and Life
ARTH 223 The Poetry of Color: Painting in Venice 1470-1600
ARTH 224 Renaissance Sculpture
ARTH 226 Northern Renaissance Art
ARTH 229 Women and Art in the Middle Ages
ARTH 230 The Age of Michelangelo
ARTH 232 Rococo Art and Architecture
ARTH 233 Renaissance Architecture
ARTH 235 Art and Architecture of Baroque Rome
ARTH 240 European Painting in the 19th Century
ARTH 249 Islamic Art and Architecture
ARTH 250 Modern Art 1900-1960
ARTH 252 Japanese Art and Culture
ARTH 253 Buddhist Art and Architecture
ARTH 255 French Roots of Modernism
ARTH 259 Chinese Painting, Tang to Yuan Dynasties
ARTH 270 1st Christian Millennium
ARTH 272 Chinese Pictures, Ming Dynasty to Modern
ARTH 282 20th Century American Art
ARTH 300 Michelangelo, Caravaggio and Bernini
ARTH 306/506 Telling Tales: Narrative in Asian Art
ARTH 307 Cultural Theory and Art History
ARTH 332/432 Roman Art, Architecture, and Power
ARTH 333 Art Since 1960
ARTH 334/434 Manet and the Modernist Project
ARTH 335 Femme Fatale and Film
ARTH 336/436 Arts of the Landscape and the Garden in China and Japan
ARTH 340 American Architecture to 1900
ARTH 389 Rococo to Revolution: Painting in France 1760-1800
ARTH 401 Seminar: Art Historiography – the History of Art History
ARTH 402 Seminar: Design After Modernism
ARTH 403 Seminar: Gender and Painting in China
ARTH 410 The Genre of the Female Nude in 19C European Art
ARTH 450 Independent Study
ARTH 467 Seminar: Artemisia Gentileschi
ARTH 472 Seminar: The Enigma of Caravaggio
ARTH 480 Seminar: Art of the Pilgrimage Roads
ARTH 495 Honors

Studio Art
ARTS 105 Color and Composition
ARTS 114 Introduction to Sculpture
ARTS 115 Three-Dimensional Design
ARTS 125 Introduction to Drawing
ARTS 165 Introduction to Imaging
ARTS 166 Time in Art
ARTS 203 Representational Painting
ARTS 204 Abstract Painting
ARTS 209 Watercolor
ARTS 214 Metal Sculpture
ARTS 215 Sculpture Modeling
ARTS 225 Life Drawing
ARTS 227 Advanced Drawing
ARTS 245 Photo Silkscreen Printing
ARTS 246 Intaglio Printing
ARTS 248 Woodcut Printing
ARTS 265 Intermediate Imaging
ARTS 268 Time in Art II: Video and Installation
ARTS 270 Words and Pictures: Topics in Contemporary Photography
ARTS 305 Painting Workshop
ARTS 315 Sculpture Workshop
ARTS 345 Printmaking Workshop
ARTS 365 Imaging Workshop
ARTS 450 Independent Study
ARTS 495 Honors

Architectural Studies
Required courses
ARCH 110 Introduction to Architecture
ARCS 200 Introduction to Architectural Design I
ARCS 300 Introduction to Architectural Design II
ARTS 115 Three Dimensional Design
ARTS 125 Introduction to Drawing

Architecture history/theory elective choices
ARCH 204 Introduction to Historical Preservation
ARCH 305 Environmental Design, Planning and Preservation
ARCH 310 Early Modern Architecture
ARCH 311 History of Modern Architecture
ARCH 312 Theories of Modern Architecture and Urbanism

Architecture studio elective choices
ARCH 301 Architecture and the Immediate Environment
ARCH 302 Architecture and the Wider Environment
ARCH 303 Visual Notes and Analysis: Designer's Sketchbook
ARCH 400 Geneva Studio
ARCH 405 Senior Seminar: Arch Portfolio Design

Art history elective choices
ARTH 250 Modern Art 1900-1960
ARTH 208 Greek Art and Architecture
ARTH 218 Age of Chivalry
ARTH 230 The Age of Michelangelo
ARTH 232 Rococo Art and Architecture
ARTH 233 Renaissance Architecture
ARTH 235 Art and Architecture of Baroque Rome
ARTH 249 Islamic Art and Architecture
ARTH 252 Japanese Art and Culture
ARTH 253 Buddhist Art and Architecture
ARTH 255 French Roots of Modernism
ARTH 270 First Christian Millennium
ARTH 282 20th Century American Art
ARTH 307 Cultural Theory and Art History
ARTH 332/432 Roman Art, Architecture, and Power
ARTH 333 Art Since 1960
ARTH 336/436 Arts of the Landscape and the Garden in China and Japan

Art studio elective choices
ARTS 105 Color and Composition
ARTS 114 Introduction to Sculpture
ARTS 165 Introduction to Imaging
ARTS 166 Time in Art
ARTS 203 Representational Painting
ARTS 204 Abstract Painting
ARTS 209 Watercolor
ARTS 214 Metal Sculpture
ARTS 215 Sculpture Modeling
ARTS 225 Life Drawing
ARTS 227 Advanced Drawing
ARTS 245 Photo Silkscreen Printing
ARTS 246 Intaglio Printing
ARTS 248 Woodcut Printing
ARTS 265 Intermediate Imaging
ARTS 268 Time in Art II: Video and Installation
ARTS 305 Painting Workshop
ARTS 315 Sculpture Workshop
ARTS 345 Printmaking Workshop
ARTS 365 Imaging Workshop

Environmental design and sustainability elective choices
ARCH 305 Environmental Design, Planning and Preservation
AMST 201 American Attitudes Toward Nature
ECON 212 Environmental Economics
ENV 110 Topics in Environmental Studies
ENV 205 Introduction to Environmental Law
GEO 140 Environmental Geology
GEO 182 Weather and Climate
GEO 184 The Solid Earth
GEO 186 Introduction to Hydrogeology
HIST 246 American Environmental History
SOC 271 Sociology of Environmental Issues (SOC 100)
PHIL 154 Environmental Ethics
REL 226 Religion and Nature

Urban and social science elective choices
ANTH 206 Early Cities
ANTH 247 Urban Anthropology
ANTH 326 Meso-American Urbanism
ANTH 352 Builders and Seekers
BIDS 229 Two Cities: New York and Toronto (Soc 100)
BIDS 298 The Ballets Russes
HIST 215 American Urban History
HIST 264 Modern European City
SOC 251 Sociology of the City (Soc 100)
SOC 253 World Cities (Soc 100)
ECON 213 Urban Economics (Econ 160)
ECON 344 Economic Planning Development (Econ 300)
SOC 249 Technology and Society
SOC 251 Sociology of the City
SOC 271 Sociology of Environmental Issues (Soc 100)
SOC 290 Sociology of Community (Soc 100)
POL 236 Urban Politics and Public Policy

History elective choices
HIST 102 Making of the Modern World
HIST 103 Revolutionary Europe
HIST 105 Introduction to the American Experience
HIST 151 Food Systems in History
HIST 199 Meditations on Time and Memory
HIST 283 South Africa in Transition
HIST 284 Africa: From Colonialism to Neocolonialism
HIST 285 The Middle East: Roots of Conflict
HIST 364 African History
HIST 461 War and Peace in the Middle East
HIST 462 Africa Through the Novel
HIST 204 History of American Society
HIST 208 Women in American History
HIST 215 American Urban History
HIST 226 Colonial Latin America
HIST 227 African American History I: The Early Era
HIST 228 African American History II: The Modern Era
HIST 231 Modern Latin America
HIST 240 Immigration and Ethnicity in America
HIST 246 American Environmental History
HIST 291 Late Imperial China
HIST 292 Japan Before 1868
HIST 101 Foundations of European Society
HIST 237 Europe Since the War
HIST 238 The World Wars in Global Perspective
HIST 250 Medieval Popular Culture
HIST 253 Renaissance and Reformation
HIST 256 Technology and Society in Europe
HIST 260 Modernity in Russia
HIST 261 20th Century Russia
HIST 264 Modern European City
HIST 269 Modern Germany: 1764-1996
HIST 272 Nazi Germany
HIST 276 The Age of Dictator
HIST 337 History of American Thought Since 1865

COURSE DESCRIPTIONS – ART HISTORY
ARTH 100 Issues in Art This course takes a broad view of the visual arts, discussing them not in isolation but in the context of the contemporary thought and culture of which they form a part. The course focuses on the social, political, and economic issues raised by the art of our time. Issues discussed include: race, gender, class, censorship, patronage, ecology, activism, etc. Students look at a selection of works from the field of fine art—that is, the practices of painting, sculpture, drawing, photography, installation, performance, video and other mixed media as a basis for a discussion of the issues raised by contemporary art. Open to first-year students only. (P. Mathews)

ARTH 101 Introduction to Art: Ancient and Medieval This course offers a chronological study of principal monuments and developments in paintings, sculpture, and architectures from prehistoric to medieval times in Europe, the Mediterranean, and the Islamic world. (Tinkler, offered annually)

ARTH 102 Introduction to Western Art: Renaissance through Modern This course is a chronological study of principal monuments and developments in painting, sculpture, and architecture from Renaissance Italy to contemporary America. (Ciletti, Leopardi, offered annually)

ARTH/ASN 103 Introduction to Asian Art This course presents a topical study of the arts and architecture of China, Japan, India, and (to a lesser extent) Korea, with some comparisons to the arts of Central Asia, Europe, and America. We will examine developments in a variety of media, including painting, sculpture, architecture, ceramics, prints, and installations, through a series of case studies. Broad topics will include connections between art, politics, philosophy, and religion; text-image relationships; artistic practice, patronage, and collecting; and international art movements in the 19th and 20th centuries. In addition, students will learn to analyze two- and three-dimensional works of art and architecture. There are no prerequisites, and no previous exposure to the arts of Asia is necessary. (Blanchard, offered annually)

ARTH 110 Visual Culture This course is an introduction to the history and concepts of art, architecture and visual culture. This course is offered in several sections by different art history professors with different areas of specialization, ranging from modern and contemporary, to Renaissance, medieval, non-Western or architectural. (P. Mathews, offered annually)

ARTH 201 African American Art This course offers an exploration of the contributions of Black artists to American art, from the transplanting of African artisan traditions in the early 19th century to the fight for academic acceptance after the Civil War, from the evolution of a Black aesthetic in the 1920s to the molding of modernism into an expressive vehicle for the civil rights and Black pride movement of recent decades. Special attention paid to the Harlem Renaissance. Artists include Edmonia Lewis, Henry Tanner, Aaron Douglas, Jacob Lawrence, Faith Ringgold. (Ciletti, offered alternate years)

ARTH 202 Art Collection Internship This internship involves researching pieces in the Colleges' permanent collection of art and developing registration records and research components necessary for adequate exhibition and publication of those art works. Interns will be involved in cataloguing and researching several works of art over the course of a term. The intern will document the work in digital form by taking a digital photograph and arranging to have the work professionally photographed for future uses. The result of the internship would be museum collection training for the student. This is a half credit course. (Vaughn, P. Mathews, offered every term)

ARTH 208 Greek Art and Architecture This course surveys the art of the Greeks and Romans from the historical origins to the middle imperial period (ca. A.D. 200). Students examine the Greek pursuit of naturalism and their turn to emotion in art. Students contrast Greek use of ideal human form with the Roman interest in the depiction of individuals. In architecture, students study the classic expressions of Greco-Roman architecture in their stylistic unity and variety, especially in the way the buildings serve different functions with a limited language of building parts. Prerequisite: previous art history or classics course or permission of instructor. (Tinkler)

ARTH 210 Woman as Image and Image-Maker An investigation of women artists from the 16th to 19th centuries, with a brief nod to the 20th century, this course is concerned with the social and art historical settings, with placing both the situations and styles of women painters too long ignored. At the same time, it takes up some of the major female themes in Western art—Madonna, Venus, heroine, femme fatale—and places them in context. Special attention is given to Artemisia Gentileschi. This course may count toward a women's studies major. Prerequisite: one course in either women's studies or art history, or permission of the instructor. (Ciletti, offered alternate years)

ARTH 211 Women and the Visual Arts in 19th Century Europe A study of the particular contributions of mostly European women artists of the modern period from about 1750 to 1900, and an investigation of the historical, cultural and social circumstances and representations that helped to form their work and its reception. Issues of gender, race and class will be central to this course. The representation of women in art works by male colleagues will be studied alongside the work of women artists. (P. Mathews, offered alternate years)

ARTH 218 Age of Chivalry The course is organized chronologically around the rapid development and diffusion of Gothic forms from the centers of power in France to the whole of Europe. Of primary concern for architecture is the interaction between use and design, typified by the elaboration of liturgical space. Special attention will be paid to the importance of cult images and their role in society in comparison to images of powerful people, men and women. We will pay close attention to secular art and make some effort to understand from material culture what everyday life was like in the Middle Ages. (Tinkler)

ARTH 221 Early Italian Renaissance Painting This course is an exploration of the extraordinary flowering of the arts in 14th and 15th century Florence. Artists include Giotto, Masaccio, Fra Angelico, Botticelli, and Leonardo. The course considers the development of individual styles, the functions of art, the culture of humanism, and the dynamics of patronage. (Ciletti, Leopardi, offered occasionally)

ARTH 222 Women in Renaissance Art and Life It was once assumed that men and women enjoyed perfect equality in the Renaissance and that the beautiful representations of Venus and the Virgin Mary in Renaissance art signaled the esteem in which women were held. Recent research suggests otherwise, finding instead increasing subordination of women. This course explores this question by considering the interrelationships between images of women in Renaissance painting, social realities of women's actual lives, the phenomenon of successful women artists, church dogma about women, and the period's literature by, for, and about women. It focuses primarily, but not exclusively, on Italy in the 15th and 16th centuries. Prerequisite: one course in either art history or women's studies or permission of the instructor. (Ciletti, Leopardi, offered alternate years)

ARTH 223 The Poetry of Color: Painting in Venice 1470-1600 This course explores the development of the sensuous styles of Venetian painting, from its first flowering in the late 15th century through its Golden Age in the 16th, in the work of such artists as Bellini, Titian, Veronese, and Tintoretto. It considers the impact on the arts of a variety of phenomena: the invention of oil paint, the rise and fall of Venice's economic and political fortunes, its gender arrangements, the unique social organization of the city, and its organs of patronage. (Ciletti, Leopardi, offered alternate years)

ARTH 226 Northern Renaissance Art This course is a study of art in Northern Europe from the 14th to 16th centuries. The primary concern is the emergence of a distinctively Northern pictorial tradition, as seen in Franco Flemish manuscript illuminations and Flemish and German paintings and prints. The course traces the contribution of such 15th century artists as Campin, van Eyck, and Bosch in transforming the character of late medieval art, and the role of Dürer, Holbein, and Bruegel in creating a humanistic, Renaissance style during the 16th century. (Leopardi, offered occasionally)

ARTH 229 Women and Art in the Middle Ages This course ranges broadly in chronology and approach to consider women and art in the middle ages in three ways: woman as art maker, woman as art buyer, and woman as art subject. Students study the changes in the relationships, which are active throughout the middle ages. To understand medieval society the course uses two histories—a modern secondary history of the period, and a collection of primary sources. Prerequisite: previous art history or women's studies course or permission of the instructor. (Tinkler, offered occasionally)

ARTH 230 The Age of Michelangelo This course is dedicated to the art of the High Renaissance and Mannerism in Florence, Rome, and a few North Italian cities. Students explore the evolution of the two styles in the work of painters and sculptors, such as Raphael, Pontormo, Correggio, Cellini, and Anguissola, with special emphasis on Michelangelo. Attention is also given to the new ideologies of art as Art and to the cult of genius, as well as the propagandistic aesthetics of the court of Cosimo I de' Medici in Florence. (Leopardi)

ARTH 232 Rococo Art and Architecture This course traces the evolution of Rococo style from Parisian salons to Bavarian churches, looking to its rejection of the grandeur of Louis XIV, its freedom, and its expression of both aristocratic hedonism and peasant faith. Attention is paid to the French Royal Academy, the rise of art criticism in Paris, and the intersection of aesthetic and social values. (Ciletti)

ARTH 233 Renaissance Architecture This is a survey of Renaissance architecture in Italy from 1250 to 1550, covering work by known architects as well as generic building types. Although the presentation is chronological, its focus is thematic in terms of both culture and aesthetics. Themes include architecture's relationship to sculpture and painting; city planning and the problem of walled cities; the city as a stage for festivals, processions and the theater; changing ecclesiastical demands for architecture; private commissions and palaces; the political meaning of architecture; contemporary theories; the practice and business of architecture as seen through Michelangelo vs. accounts books, etc. (Leopardi)

ARTH 235 Art and Architecture of Baroque Rome An investigation of the grandiose developments in Italian art in the 17th century, in the work of Caravaggio, Gentileschi, Bernini, Borromini, and other artists in Rome, this course explores such topics as papal patronage, the Counter Reformation, and the need for art as religious propaganda and illusionism. (Ciletti, Leopardi)

ARTH 237 Princely art: Renaissance court Art and Culture of Mantua, Milan, Ferrara and Rome This course will focus on the Renaissance Court Culture of the cities of Milan, Mantua, Ferrara and Rome. The course is meant to examine art production within the strict confines noble patronage by Italian princes. Particular attention will be paid to female patronage of Italian duchesses. All media will be taken under consideration -painting, sculpture and architecture--while paying particular attention to the ways in which artists responded to their patrons and introduced innovations eventually imitated by the merchant middle classes throughout the Italian peninsula.

ARTH 240 European Painting in the 19th Century An examination of the art and ideas of major European artists and movements that were responsible for creating and sustaining a revolution in art, from the Enlightenment to the end of Impressionism, 1750-1880. The course focuses on the relationships between the history and art of this period of revolutions and reactionary politics, and issue pertinent to the development of Modernism such as changing value structures, the rise of consumerism, the new role of the artist, new ways of looking, and the shifting nature of gender, race and class. (P. Mathews, offered alternate years)

ARTH 248 Love and Death in Ancient Egypt This course explores Egyptian paintings and reliefs from temples and tombs to reveal the strong sensual qualities encoded in the symbolism and iconography of funerary art. A careful analysis of artifacts will helps us understand how encoded images were seen as a form of power and a means to obtain immortality. While the course will provide a chronological survey of Egyptian art, it will mostly focus on the New Kingdom period because most of the tomb wall paintings to have survived belong to that specific period.

ARTH 249 Islamic Art and Architecture Students examine Islamic art and architecture from its beginnings in classical Mediterranean media and forms to the expression of autonomous stylistic developments and the impact of colonialism and post colonialism. They consider the myth that Islam prohibits imagery and examine the use of the abstract decorative technique often dismissed in western criticism as the "arabesque." The western colonialist response to the Islamic world, the subsequent Islamic response to western art styles, and the contemporary search for an authentic Islamic style in art and architecture conclude the course. (Tinkler)

ARTH 250 Modern Art 1900-1960 A study of the avant-garde movements in art from the beginning of the 20th century through 1960. The artistic movements during this period occur in Italy, Germany, France, Holland, Russia, and the USA. We will first define the avant-garde as an attempt to affect social change, and then look at its various manifestations including Fauvism, Dada, Cubism, German Expressionism, Russia Constructivism, Abstraction, Surrealism, New Realism, and American Abstract Expressionism. All of these avant-gardes express and define Modernism in art. We will therefore also define Modernism. Finally, we will study the potential ability of each movement to make social change. (P Mathews, offered alternate years)

ARTH 252 Japanese Art and Culture This course will take an interdisciplinary approach to the arts and culture of Japan from the Neolithic period through the 20th century. We will consider examples of visual media in the context of Japanese literature, history, society and religions. Topics will include Shinto architecture, Buddhist art (including Pure Land and Zen), narrative picture scrolls, traditional and western-style paintings, shoin architecture, gardens, tea ceremony ceramics and ukiyo-e prints ("pictures of the floating world"). Students will read primary sources in translation, including Shinto myths, Buddhist texts and selections from literature. (Blanchard, Spring, offered alternate years)

ARTH 253 Buddhist Art and Architecture This course will examine Buddhist architecture, painting, and sculpture from South Asia, Southeast Asia, the Silk Road, and East Asia. We will consider five important movements in Buddhist practice: Theravada, Mahayana, Esoteric, Pure Land, and Zen. Topics will include images of the life of the historic Buddha and tales of his previous lives; the role of the stupa in Buddhist worship; the expansion of the Buddhist pantheon; associations between art and patronage; representations of multiple realms of existence; the development of the mandala; and the role of meditation in artistic practice. When appropriate, students will read Buddhist texts in translation. (Blanchard, Spring, offered alternate years)

ARTH 254 Islamic art at the crossroads: the Western Mediterranean from the 12th to the 16th century This course examines the artistic production of Islamic culture in the Western Mediterranean throughout the Middle Ages and the Renaissance by taking into account cross-cultural exchanges. Themes under consideration will include: the relationship between art and literature; the rise of court culture; women's role in Islamic art, and Venice and Islam.

ARTH 255 French Roots of Modernism Through a critical examination of the works of late 19th century artists in France, from Toulouse-Lautrec to Cezanne, Van Gogh, Gauguin, Suzanne Valadon, Camille Claudel, Seurat, and others, we will study the roots of the modernist avant-garde from the perspective of the developing principles of modernism. We will also analyze the way in which these principles interact with cultural constructions such as race, class and gender. (P. Mathews, offered alternate years)

ARTH 259 Chinese Painting, Tang to Yuan Dynasties This course will explore painting practice from the beginnings of China's "Golden Age" in 618 through the end of Mongol conquest and rule in 1368. Painting is regarded as one of the premier art forms in the earliest Chinese histories of art, second only to calligraphy. Material will be presented chronologically, but broader topics will include popular subject matter in early painting, including figural topics and landscapes; early theories on painting and the development of art criticism; notions of artist's places within specific social classes; questions of patronage and collecting; and relationships between painting, calligraphy and poetry. (Blanchard, Fall, offered alternate years)

ARTH 270 1st Christian Millennium This course covers the beginnings of Christian art and architecture in the cities of Rome and Constantinople and follows the diffusion of forms into the fringes of the Mediterranean world. The course is organized chronologically around the adaptation of classical forms for new purposes and the invention of new forms for the new religion. Of primary concern for architecture is the interaction between use and design, typified by the development of liturgy. Special attention is paid to the importance of the icon, its role in society, the subsequent politically driven destruction of holy images during iconoclasm, and the final restoration of the cult of the image. Prerequisite: previous art history course or permission of the instructor. (Tinkler, offered alternate years)

ARTH 272 Chinese Pictures, Ming Dynasty to Modern This course will explore pictorial practice from 1368 through the end of the 20th century, focusing on painting and printmaking. Painting is regarded as high art in the earliest Chinese histories of art, second only to calligraphy, while prints are a much more "common" art form. Material will be presented chronologically, but broader topics will include popular subject matter in later pictures, including figural topics and landscapes; pictures as social or political commentary; art criticism and later theories on painting; notions of artist's places within specific social classes; questions of patronage and collecting; and Chinese responses to international art movements. (Blanchard, Fall, offered alternate years)

ARTH 282 20th Century American Art This course is a study of American art from the turn of the century to its ascendancy as the center of international art. (P. Mathews, offered alternate years)

ARTH 300 Michelangelo, Caravaggio and Bernini This course studies the work of Michelangelo, Caravaggio and Bernini, the dominant masters of the Roman Renaissance and Baroque periods on site in Rome. Painting, sculpture and architecture are considered. Students look to the nature of the works, the patrons and commissions which brought them into being, and the stylistic interrelationships among the three artists. Side trips to Florence and other cities supplement the Roman works. (Ciletti, offered occasionally)

ARTH 303/403 Gender and Painting in China How are the feminine and masculine represented in art? This course considers the role of gender in Chinese painting, focusing on the Song and Yuan dynasties (spanning the 10th to 14th centuries). Topics include the setting of figure paintings in gendered space, the coding of landscapes and bird-and-flower paintings as masculine or feminine, and waysthat images women (an often marginalized genre of Chinese art) help to construct ideas of both femininity and masculinity. Throughout, students examine the differing roles of men and women as patrons, collectors, and painters. Prerequisite: permission of the instructor. (Blanchard, offered occasionally)

ARTH 306/506 Telling Tales: Narrative in Asian Art The relationship between text and image assumes primary significance in the arts of Asia. Of special import is the use of visual narrative, or the art of storytelling. This course traces the role of narrative in the architecture, sculptures and paintings of India, Central Asia, China and Japan. The course is designed as a series of case studies, through which we will examine both the special visual formats developed in Asia to facilitate the telling of tales as well as the specific religious, political and cultural contexts in which narrative is deployed. Prerequisites: previous coursework in art, Asian Studies, Women's Studies, or permission of the instructor. (Blanchard, offered occasionally)

ARTH 307 Cultural Theory and Art History Over the past 30 years, art historians have appropriated a number of methodologies from outside the discipline to understand art, from semiotics to discourse theory, representation theory, deconstruction, and psychoanalytic theory. We will explore the relationship of these theories to the interpretation of art. Prerequisites: At least one 200 level course in art history. (P. Mathews, Fall, offered alternate years)

ARTH 332/432 Roman Imperial Art and Politics In this course, students consider the use Roman politicians made of art and architecture to shape public understanding of Roman imperial ideologies—to make Romans of the whole Mediterranean world. The course concentrates on three periods—the time of Augustus, the adoptive Antonine dynasty, and the Late Empire—and three art types—the imperial portrait (including the portraits of imperial family members), commemorative monuments (triumphal arches, columns and temples), and the Roman colony cities throughout the Empire. Prerequisite: permission of instructor. (Tinkler, offered alternate years)

ARTH 333 Art Since 1960 This course focuses on the art of the 1960s to the present day. The course includes movements such as Conceptual Art, Minimalism, Pop Art, Color Field Painting, New Image Painting, Neo Expressionism, and Post Modernism. The approach is topical and thematic, drawing upon works of art in various media including: video, film, performance, earthworks, site specific sculpture, installation, etc. Individual works of art are discussed in the context of the theoretical writing informing their production. (P. Mathews, offered occasionally)

ARTH 334/434 Manet and the Modernist Project In nineteenth-century Paris, issues central to Modernism from consumerism to gender roles, class distinctions, racial hierarchies, and bourgeois politics were in flux. These concerns were transformed dramatically during this period, and began to shape and define modernity. Avant-garde artists represented these transformations from a variety of perspectives. We will concentrate on Edouard Manet's understanding of modernity in particular. Student presentations will focus on the Modernist Project in works by Degas, Cassatt, the Impressionists, and others. (P. Mathews, offered occasionally)

ARTH 335 Femme Fatale and Film A feminist look at female roles in various 20th century (mostly) Hollywood films. The reading for the class will include writings ranging from discourse theory to Lacanian and French feminist psychoanalytic theory, film theory and feminist art history. (P. Mathews, offered occasionally)

ARTH 336/436: Arts of the Landscape and the Garden in China & Japan In China and Japan, the natural landscape becomes a primary theme of artistic expression, as revealed in two-dimensional works of art and architectural sites. This course will examine East Asian traditions of landscape painting, pictorial representations of gardens, and the historic gardens of Suzhou, Beijing, and Kyoto, from the premodern era through the present. We will explore how these diverse representations of landscape play upon the dichotomy between nature and artifice and consider their social, political, and religious implications. Students will read landscape and garden texts in translation, as well as selections from the secondary literature dealing with these themes. (Blanchard)

ARTH 389 Rococo to Revolution: Painting in France 1760-1800 This course explores the tumultuous transformations in French art in the decades leading up to the upheavals of 1789 and during the revolutionary period. Stylistically, this means the overthrow of the rococo style (designated aristocratic and feminine) by the reputedly bourgeois, masculine idiom of neoclassicism. It considers the collisions of shifting ideologies of art, politics, class, and gender and their consequences for painters such as Fragonard, Greuze, Vigee Lebrun, and J.L. David. Attention is given to the theoretical programs and gender restrictions of the Royal Academy, to philosophers/critics, such as Rousseau and Diderot, to evolving taste at Versailles, and to visual propaganda during the French Revolution. Prerequisite: ARTS 102 or permission of the instructor. (Ciletti, offered occasionally)

ARTH 401 Seminar: Art Historiography – the History of Art History In this course, students study the history of art history, from its beginnings in artists' biographies to postmodernism and the New Art History, by reading a variety of art historical works. Each student chooses a particular artist, architect, or stylistic movement and follows the traces of art historians through time as they agree and disagree on what is to be said about art. Prerequisites: permission of the instructor. (Tinkler, offered occasionally)

ARTH 402 Seminar: Design After Modernism This course examines critical theories of art, architecture, and design since the 1950s. Students explore the relation of structuralist and post-structuralist theories to architecture. In addition, students examine how these ideas and issues resonate within the whole of modern society, including such fields as art, music, literature, film politics, economics, science, and philosophy. Prerequisites: permission of the instructor. (S. Mathews, Spring, offered occasionally)

ARTH 403 Seminar: Gender and Painting in China How are the feminine and masculine represented in art? This course will consider the role of gender in Chinese painting, focusing on the Song and Yuan dynasties (spanning the 10th to 14th centuries). Topics will include the setting of figure paintings in gendered space, the coding of landscapes and bird-and-flower paintings as masculine or feminine, and ways that images of women (an often marginalized genre of Chinese art) help to construct ideas of both femininity and masculinity. Throughout, we will examine the differing roles of men and women as patrons, collectors, and painters. Prerequisites: permission of the instructor. (Blanchard, offered occasionally)

ARTH 410 The Genre of the Female Nude in 19th Century European Art This course examines representations of the female nude in painting of the late 19th-century European Symbolist period from a feminist perspective. Our discussion will focus on the nudes of Auguste Renoir, Paul Gauguin, Suzanne Valadon, Paula Modersohn-Becker, and Franz Von Stuck among others, as well as Symbolist images of the femme fatale. Areas to be investigated include the gaze, psychoanalytic understandings of female sexuality, social constructions of gender, the role of prostitution in the construction of the female body, and the way in which art itself produces meanings. Prerequisites: At least one 200 level course in art history, or permission of the professor. (P Mathews, Spring, offered occasionally)

ARTH 450 Independent Study

ARTH 467 Seminar: Artemisia Gentileschi Artemisia Gentileschi was one of the most striking painters of the Italian Baroque style. Her powerful art and unconventional life were controversial, since both violated prevailing late Renaissance expectations about women and their capacities. This examination of Gentileschi addresses such issues as the unfolding of her style and its roots in the work of Caravaggio, the situations of women artists in the 17th century, the iconography of female heroism she pioneered, and Gentileschi's influence upon her contemporaries. Prerequisite: permission of instructor. (Ciletti, Spring, offered occasionally)

ARTH 472 Seminar: The Enigma of Caravaggio However considered, this greatest of Italian painters since the Renaissance is a puzzle. His brief life was violent, rebellious, haunted, yet his art reached heights (and depths) of religious truth shared only, perhaps, by Rembrandt. His dark, menacing paintings created a revolution in our understanding of light. His humble, proletarian style was constructed on rigorous, classical principles. The painter of dirty peasants was championed by cultivated prelates and princes. And so it goes. This seminar is dedicated to the luxury of studying Caravaggio's elusive art slowly, in as much depth as possible. Prerequisite: permission of the instructor. (Ciletti, Spring, offered occasionally)

ARTH 480 Seminar: Art of the Pilgrimage Roads This seminar explores the art and architecture surrounding one of the most important medieval journeys: the pilgrimage. Theories of pilgrimage are discussed, as well as the physical journey which medieval pilgrims took to Santiago de Compostela, Rome and Jerusalem. The bulk of the course focuses on the reliquary arts, architecture, and sculpture which the pilgrim experienced on his/her journey to these sacred places. (Tinkler, Spring, offered occasionally)

ARTH 495 Honors

COURSE DESCRIPTIONS – STUDIO ART
ARTS 105 Color and Composition A perceptual approach to problems of color interaction and compositional dynamics, students work through a carefully structured series of problems designed to reveal empirically the nature of color interaction and relatedness and the fundamentals of good visual composition. Projects range from narrowly focused color problems to ambitious, expressive compositional inventions. Required for studio art major and minors. (Bogin, Ruth, offered each semester)

ARTS 114 Introduction to Sculpture A broad introduction to sculptural processes and principles. Traditional and experimental approaches to creative artistic expression in a variety of media are investigated including carving, clay modeling, casting and construction. Materials may include plaster, wood, clay, metal, and mixed media. The history of modern sculpture is incorporated into the course through readings and discussion, as well as slide and video presentations. Required for studio art majors: either ARTS 114 or ARTS 115. (Aub, offered annually)

ARTS 115 Three-Dimensional Design An introduction to three-dimensional concepts, methods, and materials with an emphasis on design. Project assignments involve investigations of organization, structure, and creative problem solving. Materials generally used in the course include cardboard, wood, metals, fabric, and plexiglas. Required for studio art majors: either ARTS 114 or ARTS 115. ARTS 115 is a required course for architectural studies majors. (Aub, Staff, offered each semester)

ARTS 125 Introduction to Drawing A basic course in visual organization and visual expression, students focus on the relational use of the visual elements to create compositional coherence, clear spatial dynamics, and visually articulate expression. Students experiment with a range of drawing materials and subject matter. Required for studio art majors and minors. (Aub, Bogin, Yi, Ruth, offered each semester)

ARTS 165 Introduction to Imaging An introduction to the methods, materials, and history of camera based image making. Lectures involve camera usage, lighting, darkroom technique, imaging software, digital printing, and pictorial composition. Weekly lectures on the history of photographically based imaging from 1839 to the present will illuminate the profound influence such methods have on the way we perceive reality. A 35mm, film SLR type camera or digital SRL type camera. (Jones, Chin, offered every semester)

ARTS 166 Introduction to Video 1: Creating Art with Moving Images This course is an introduction to creating art with moving images using digital video cameras and nonlinear (digital) editing. Students produce a group of short works, which is contextualized by viewing and discussion of historical and contemporary video works. Emphasis will be placed on creating conceptual works that engage artists and audience in a deeper understanding of current issues and human experience. Additional techniques that may be used and discussed include stop-motion animation , sound, and installation.

ARTS 203 Representational Painting A sequel to ARTS 105, this course focuses on the problems of painting from a source, including still life, figure, and landscape. Students work to reconcile the insistent presence of objects with the need to create pictorial lights, space and compositional and expressive coherence. Prerequisite ARTS 105 (Bogin, Ruth, offered alternate years)

ARTS 204 Abstract Painting A sequel to ARTS 105, this course focuses on the generation of an abstract pictorial vocabulary and on the investigation of a range of compositional and expressive possibilities for the pictorial use of that vocabulary. Prerequisite: ARTS 105. (Bogin, offered alternate years)

ARTS 209 Watercolor An exploration of the fundamentals of painting with translucent color media. Western and Eastern traditions, as well as more experimental approaches, are investigated. Use of Gouache (opaque watercolor) may also be explored. Subject matter involves still life, figure, and landscape with excursions to rural and urban settings. (Yi, offered alternate years)

ARTS 214 Metal Sculpture This course explores metal as a creative sculptural medium. Processes and techniques of direct and indirect working methods will be taught which includes fabrication and casting. During the fabrication portion of the course, the formal aspects of design will be investigated along with its execution in stock metal (rods, sheet, plate) and "found" (recycled) metal. In the process of working with these materials, the class will discuss assemblage possibilities, Constructivism, and the broader context of metal as a product of industry and war as it applies Modernist and Postmodernist concerns. By contrast, in the bronze casting portion of the course, we will explore the age old process of the "lost - wax" method as it has been practiced continuously from the ancients to contemporary times. Prerequisite: ARTS 114 or ARTS 115 or permission of instructor. (Aub, offered alternate years)

ARTS 215 Sculpture Modeling An investigation of sculptural tradition and personal expression through figure and head studies observed from life. Projects are modeled in clay and cast into plaster. This course takes an interdisciplinary approach that melds science with sociology and art as we seek understanding of the human form ranging from the physical embodiment to cultural perceptions. In addition to a vigorous investigation of anatomy through lectures, readings, and drawing, students will also explore art historical context, the politics of body image, and the psychology of portraiture. Prerequisite: ARTS 114 or ARTS 115. (Aub, offered annually)

ARTS 225 Life Drawing A study of the formal dynamics and the expressive potential of figure drawing. Students explore a variety of wet and dry media. Prerequisite: a 100-level studio art course or permission of instructor. (Aub, Bogin, Ruth, offered annually)

ARTS 227 Advanced Drawing Drawing projects in this class will focus on the process of visual invention using both representational subjects and abstraction. We will start with the idea that every drawing, even the most meticulously representational, is an invented assemblage of marks and forms. We will explore ways of generating visual forms and visual relationships with an emphasis on imaginative use of materials. Collage in various guises will be a regular part of the processes of invention in this course. (Bogin, offered annually)

ARTS 245 Photo Silkscreen Printing An introduction to the basic technology of photoscreenprinting, which can use both photographic and drawn images. Equal attention is given to issues of color and composition. Prerequisite: ARTS 105 or ARTS 125. (Yi, offered alternate years)

ARTS 246 Intaglio Printing An exploration of the basic techniques of intaglio printing, including drypoint, etching, and aquatint. Equal attention is given to composition and the effective use of visual form. Prerequisite: ARTS 125. (Yi, Bogin, offered alternate years)

ARTS 248 Woodcut Printing An introduction to the fundamental processes of woodcut printmaking. Traditional and experimental techniques are investigated. Formal dynamics and visual expression are the most important emphases of this course. Prerequisite: ARTS 125. (Yi, offered alternate years)

ARTS 265 Intermediate Imaging This course expands on themes introduced in ARTS 165 with additional emphasis on Photoshop digital imaging techniques. Attention will be given to refining technical skills while expanding the student's artistic horizons to produce images with powerful content. The critique process is an important part of the course structure. Classes are geared to the creation of an open, yet critical environment that fosters each student's emerging visual sensibility. (Jones, Chin, offered annually)

ARTS 268 Time in Art II: Video and Installation Building off of Time in Art, this course will continue an exploration of time-based art, with emphasis on further exploration of digital video and the possibilities of time-based media in space (installation). Additional tools used may include sound, performance, electronics, and photography. Emphasis will be placed on creating conceptual works that engage artists and audience in a deeper understanding of current issues and human experience. Students will create original works of art that will be challenged and enriched by the critique process. In addition, students will consider the history of video, installation, and interactive art, as well as other issues in contemporary art. Prerequisite: ARTS 266 (Chin, offered alternate years)

ARTS 270 Words and Pictures: Topics in Contemporary Photography This course is a hybrid discussion and studio course. Our words will stem from Alex Klein and Charlotte Cotton's Words Without Pictures, a collection of essays and responses from a year-long discussion on contemporary photographic issues, and our pictures will be produced by students as they develop and pursue independent photographic projects. Building on the skills acquired in Introduction to Imaging, students will learn advanced imaging techniques as well as research strategies and resources specific to art and photographic discourse. The remainder, and majority, of the course will follow a weekly format that devotes one class meeting to student-guided discussion and presentations of reading material and supporting imagery. The second class each week will consist of group critiques of in-progress student work, and eventually fully-realized individual projects. Through the combination of studio work and contemporary photographic research, students will explore the relative significance of concept and form, and engage with their own and other artist's work within larger art and photographic contexts.

ARTS 305 Painting Workshop For advanced students, the focus of this workshop is on the generation and development of individual painting ideas. Emphasis is on the creation of a process of painting that draws on a multitude of sources, inspirations, influences, and ideas and the way that work emerges from this matrix of pictorial possibilities. Prerequisite: ARTS 203, ARTS 204 or permission of the instructor. (Bogin, Ruth, offered annually)

ARTS 315 Sculpture Workshop An open studio for a small, independent group, this course includes individual problems and criticism as well as group discussions. All media and processes may be investigated, including modeling, carving, welding, and plaster or bronze casting. Prerequisite: ARTS 215. (Aub, offered annually)

ARTS 345 Printmaking Workshop This workshop is for students who have taken ARTS 245, ARTS 246, or ARTS 248. It is designed to enable students to do more advanced work in a chosen area of printmaking as well as explore new related areas of printmaking. (Yi, offered alternate years)

ARTS 365 Imaging Workshop This is a concept based course in which the student is encouraged to employ a variety of imaging media to fully explore their creative potential in a workshop environment. Projects using image capture are required, either with film or digital still cameras or time-based capture tools such as sound recorders or video cameras. Students will be encouraged to explore the visual and conceptual foundations of their work through the critique process. (Jones, Chin, offered alternate years)

ARTS 450 Independent Study

ARTS 495 Honors

COURSE DESCRIPTIONS – ARCHITECTURAL STUDIES
Architectural History and Theory
ARCH 110 Introduction to Architecture An introduction to architecture and design culture, this course introduces students to the aims, methods, and issues of the design and planning disciplines with architecture at the core of our studies. This course also encourages students to think, look, and read critically about designed objects, places, and spaces through drawing, although no prior experience with sketching is expected. With these tools, the student will have a basic understanding of design, and will be prepared to undertake more specialized study. The course will vary between giving students a survey of world architectural history and/or providing them with an awareness of issues facing designers at the dawn of the twenty-first century including sustainability, social responsibility, and the democratization of design.

ARCH 204 Introduction to Historic Preservation This course will serve as an introduction to the field of historic preservation, focusing on the history, theories and practice of preservation in the United States. The course will explore the origins and history of the preservation movement in the United States and introduce students to the legislation and governmental entities that enable and support historic preservation at the local, state and national levels. Students will also be introduced to private efforts, both individual and collective, to preserver the American architectural heritage and the diverse motivations for such endeavors. Technical aspects of preservation will also be considered, including research and documentation, as well as approaches to adaptive reuse and the design of additions to historic buildings and districts. In the course of these explorations, students will be asked to take a critical look at these practices openly exploring preservation's strengths, weaknesses, limitations and biases. To support these investigations, the City of Geneva and its community will serve as a living laboratory, as preservation historical has been and continues to be major force in community life. (Staff, offered occasionally)

ARCH 305 Environmental Design, Planning and Preservation A survey of the interrelated histories of the architecture, landscape architecture, planning, natural resource conservation and historic preservation in the United States during the 20th century and up through today. This course will cover early park and city planning, the impact of the 1960s environmental movement and reaction to modernist projects on the design professions, the historic preservation movement, and recent multidisciplinary design practice emphasizing ecological sensitivity. Prerequisites: ARCH 110, ARCH 200 or 201. (Makker, offered alternate years)

ARCH 310 Early Modern Architecture This course traces the major tendencies of European and American architecture from the Enlightenment to World War I. In this course, we examine the roots of modern architecture in relation to culture and society. In particular, we will look at how developments in architecture relates to developments in other disciplines such as art, science, philosophy and politics. (S. Mathews, offered annually)

ARCH 311 History of Modern Architecture Modern architecture evolved less than a century ago in response to changing social and technological conditions. This course seeks to convey the underlying causes, social milieu, technological innovations, and individual geniuses that helped bring about the revolution and subsequent evolution of modernism. Through informative lectures, explorative projects, and interactive discussions, the class examines the personalities, the rhetoric, and the seminal works of the modern era. (S. Mathews, offered annually)

ARCH 312 Theories of Modern Architecture and Urbanism This course investigates the role that ideas can play in the making and interpretation of the built environment. Lectures, readings, discussions, and hands on projects combine to cover a broad range of topics from basic definitions of terms and concepts to an overview of the significant theoretical positions that have been used to lend authority to form making. Emphasis is placed on buildings and ideas that are crucial to the important theoretical debates of the 20th century. The course specifically aims to present the material in a manner that aids students in clarifying their own values and intentions. (S. Mathews, offered annually)

ARCH 313 History of Modern Landscape Architecture This course presents a survey of landscape design from the 19th century to the present with an emphasis on the 20th century. Lectures, readings, and discussion will present and analyze specific parks, gardens, roads, planned communities, and other sites of invention. Works of landscape design will be physically contextualized through consideration of contemporary and allied humanities, especially philosophy, literature, painting, and architecture. The relationship of individual landscape projects to their topographic and social contexts will emerge as a central theme of the course. Students will learn to see, analyze, and appreciate works of landscape design, and also the historical trends and cultural forces that have shaped them. (Blankenship)

ARCH 450 Independent Study

ARCH 495 Honors

Architecture Design Studios
ARCS 200 Introduction to Architectural Design I: Spatial Concepts + Precepts This course is an introduction to architectural composition emphasizing conceptual thinking. The design projects stress concept development and rigorous design process in order to create rich and evocative experiences and architectural elements. We will explore the artistic, conceptual, poetic, and experiential side of architecture as a way of developing a rigorous process of architectural form-making. This studio is about object-making at both small and large scales (book-sized to furniture-sized to house-sized) without reference to a specific site or context. This course emphasizes free-hand drawing in both pen and pencil, working in watercolor and colored pencil, and building models with clipboard and foam core. Students will learn how to sketch ideas as two dimensional diagrams and as three dimensional perspectives. Readings and other materials: Ching, Frank, Architecture: Form, Space, Order; Frederick, 101 Things I Learned in Architecture School. Prerequisites: ARCH 110 and ARTS 115 and ARTS 125. (Blankenship, Makker, offered every term)

ARCS 202 Watercolor Sketching This course emphasizes illustrative analytical drawing (as opposed to graphite and ink-based analytical drawing) using transparent watercolor media and the process of tonal layering. Students will gain facility with basic watercolor skills and be encouraged to explore this media as a tool for on-site study of places (art, structures and spaces), using the sketchbook to build visual literacy. Weather permitting, exercises will predominantly be done 'en plein air'-outside and the on-site in the region. Documentation and observation, the development of well -composed and layered observational watercolor sketches is the primary learning objective of this course. This course is occasionally offered by faculty leading abroad programs.

ARCS 300 Intro Arch Design II: Material Craft + Poetics This course is an introduction to architectural composition emphasizing FORM making that is aesthetic, imaginative and suitable for everyday use by humans. The design projects stress craft and attention to detail, appropriateness within an architectural context, and fluidity of design concept at multiple scales (for example, a decision about texture affects decisions about massing affects decisions about sitting). We will explore the material, technical, structural, and crafted qualities of architectural elements. This studio is about object-making at both small and large scales (book-sized to furniture-sized to room-sized) with reference to a specific site or context. This course emphasizes drafting drawing in both pen and pencil, working in watercolor and colored pencil, and building models with chipboard and wood. Students will learn how to draw plans, sections, elevations, and three dimensional perspective representations. (Blankenship, Makker, offered every term)

ARCS 301 Design Studio II: Architecture and the Immediate Environment Through a series of theoretical and applied problems used in this course, students explore the complexities of integrating architectonic relationships of form and space with the realities of program needs, construction systems, materials, structure and environmental factors. Individual and group problems address built form and its immediate surroundings. Emphasis is on deepening intuitive and logical understanding of architectural forms, systems, influences, and expressive potential. Prerequisite: ARCS 200. (Staff, offered occasionally)

ARCS 302 Design Studio III: Architecture and the Wider Environment Through a series of theoretical and applied problems in this course, students explore the integration of architecture with the larger formal, social, political, economic, movement, and environmental issues of urban and regional planning. Individual and group problems emphasize the development of both intuitive and logical understanding of architectural forms, systems, influences, and expressive potential within the larger context of human design on the land. The City of Geneva and its environs may serve as a locus for class projects. Prerequisite: ARCS 200. (Staff, offered occasionally)

ARCS 303 Visual Notes and Analysis: The Designer's Sketchbook A necessary part of design education is learning to observe, to document and to analyze our perceptions of architectural form and space through drawing diagrammatically rather than purely illustratively. Like a writer interprets and analyzes what they learn when they read or are lectured to, a designer uses diagrams to dissect the built works of architecture, interiors, and landscape and urban design they see in order to better understand the underlying principles that govern the physical disposition of elements, spaces, and their use. Learning to see involves both abstraction and generalization; learning to record involves understanding a conventional drawing vocabulary; learning to analyze involves understanding design principles and paradigms. We will work on location in the area, recording our visual observations only using the eye and our foot pace to measure and record spaces. No mechanical means (tape measure, ruler, camera) will be used. This course will introduce students to the habit of keeping a designer's sketchbook and to the skills used for documenting and analyzing the built environment through diagrammatic drawing in contrast to the fine arts tradition of illustrative drawing. Readings and other materials: Ching, Frank, Architecture: Form, Space, Order; Ching, Frank, Design Drawing; Cooper, Drawing and Perceiving. Prerequisites: ARCH 110 and ARTS 115 and ARTS 125 and one of the following: ARCS 200 or ARCS 300. (Makker, offered alternate years)

ARCS 400 Advanced Architecture Studio The City of Geneva serves as an interactive studio environment in which students practice urban spatial design—the art of giving form to the public realm through the shape of streets, squares, blocks, and parks, and articulating their human uses. "Urbanism" is encouraged as an essential attitude in urban design that favors a spatially connected public realm over the "master planning" of mere objects in the urban landscape. Students combine the three-dimensional aspects of site-specific proposals with a coherent and well-formulated attitude toward land use and programming. Prerequisites: ARCS 200, plus ARCS 301 or ARCS 302, or permission of the instructor. (Spring, offered occasionally)

ARCS 405 Senior Seminar: Architectural Portfolio The Architectural Portfolio course provides senior Architecture Studies majors with capstone experience. At the end of this course, each student will have a professional quality graphic record of their design work at the Colleges in the form of a graphic narrative of their creative process. Students learn the special techniques of photographing architectural drawings and models, how to use Adobe Photoshop and how to manipulate, edit, and correct digital images. The course then explores graphic design and how to present a graphic narrative of design. Finally, students will learn the fine points of professional printing and binding. By the end of the course, students will have a high-quality portfolio, essential for admission to any graduate architecture program. Prerequisites: Must be a senior Architectural Studies major. (S. Mathews, offered annually)

ARCS 450 Independent Study

ARCS 495 Honors