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A844 - Preparatory Reading

Book:

Conway, H. & Roenisch, R. (2005) 2^nd Ed. Understanding architecture: An Introduction to architecture and architectural history London, Routledge.

How does it reflect on A843 themes?

Architecture is virtually absent in A843, except for a little on Chiswick House. But some of the introductory concepts can be refreshed with an eye to architecture alone:

         i          Authorship can be aligned with the discussion of the conventional historiographical approach of architectural history through ‘masters’ or  notions of genius (15f. on ‘heroic’ and monumental, 38) or modes of analysis located in ethnocentric or sexist principles (39-41).

       ii          Style & ‘periodisation’ (8) have their own chapter and the links to treatments in A843 are useful. Thus Wölfflin’s comparative method is mirrored in Banister Fletcher’s stylistic analyses perhaps (39, 168ff.) and style as aesthetic feature (15 role of the architect’s studio) is discussed against style as in itself interactive with contextual matters (180, especially social functions 59 on Edinburgh, 61, 155 on Le Corbusier) and choices and/or competition (21). This is wary of how ‘style’ is used too and there is a warning against (like Pevsner) using it as a period marker (179, 189, 191 on ‘Victorian’ as a ‘false title’). The treatment of transitional phases is also great and telling (50f. 57, 80-1).

     iii          The iconographical or analysis of features as ‘meaningful’ icons is there – in a wide sense in the treatments of scale, proportion (65), size (62), as well as height and the relationship of insides and outsides of buildings to their meaning (69ff, 80f.) or the ‘open’ v. the closed 58 – In Japan for instance. Of course functions in interpretation often veer into issues of social reflection (28) and functionality – especially which of ‘communication’ (71) in relation to status – the construction of master –servant relations for instance.

      iv          This veers onto geography and institutions – nice on Fergusson, which excellent treatment of national issues (39-41). The treatment of process / service issues internal to the building’s self-care is good (78, 80f.) as well as being less prejudiced about ‘high-rise’ that Mumford (126 – who they like 19). The role of law touched on well here – ‘air rights’ 199, safety 155.

How do I predict that it might foreshadow A844 themes?

The key issues are I think:

a.      Planning and evidence-building for arguments that has transferable elements to non-architectural subjects: Chs. 3, 10. Likewise Ch 5. On ‘drawings and models’ has all kinds of interesting uses – architectural drawing as ‘art’ for instance – issues of perspective and function. The issue of different projections and viewpoints. How to talk about materials and combine multi-disciplinary perspectives.

b.      The analysis of space in relation to function, interior/exterior, rights and law, the role of boundaries and appearance – ideological v. service functions and so on. This is clearly focused in A844. Townscapes and landscapes – the relation of building to materials and issues of sustainability, gender, class, disability etc. Great vocabulary to discuss urban space too – density & grain (203).

c.      The nation and monumental architecture. Some examples around Baroque. The discussion of the marginalisation of the vernacular and why it happens.

d.      Ideology and imagery within architecture (Soanes)

What are the books key themes and narratives?

I think this is covered above and in the Contents page of this book. I felt the issue about architectural teams and the difference they make in terms of roles and relationships in the production of work could be more pointedly isolated, since it is obviously there. What for instance of the relative roles of architect and structural engineer (Built Agrawal, R. 2018).

How does the book relate to the analysis of art and architecture?

It is:

       I.          Introductory and therefore always a companion for architecture.

     II.          Focuses on how meanings relate to constructional, material, social, political and economic factors.

    III.          Decidedly international and/or a glocal approach to the issues which is excellent.

Any other points!

This is a very ambitious book and would perhaps be more honestly entitled ‘Introducing the Understanding of Architecture’, since, as the Foreword says it is conducted in ‘a masterly way, albeit at an introductory level’. There are moments when the characteristic comprehensive of the introduction appears far too simplistic (as in the introduction to CAD, 109). However, for me, it is ideal since I lack the confidence to start higher than this and this book is a brilliant companion to study, should I need it for TMAs or later, even though it may be designed for A-level, first-degree, auto-didact learners (I wish in this respect I’d come across it MUCH sooner). The features that appeal are:

1.      The brilliant glossary and the way this interacts with the text (necessary glossary words are asterisked*) to fill out understanding of basic concepts, ideas and architectural features. The book advises purchase of a dictionary and I got the Penguin one from a 2^nd-hand shop, only to find some references in the latter missing or inadequate – especially if they related to Eastern traditions like geomancy or to phenomena not always classed as ‘architecture’ (and this book even covers the structures that used to be used by homeless people in the 1970s-80s when I was a student in London (128)).

2.      The fine Chapter 10 which examines the range of sources used as evidence in building arguments about a piece of architecture or architectural or land-planning phenomena across a wider range. This doesn’t need reading now just saving for later use.

3.      The simplicity of the language and structure of the books. Even each chapter has an appealing sub-structure of headings which mean that any aspect can be refreshed before looking further into issues such as the ‘scale’ of architectural pieces (147ff.) or ‘proportion’ as a spatial issue (64ff.). I will keep this book by me.

4.      The little bits of analytic practice that are modelled are brief but very instructive and feel strong in themselves, at least as a starting-point: Georgian compared to Baroque for instance (23f.).

One that appeals much less is the textbook character of the work. My guess is that was based on the introductory level course for beginners at De Montfort University. Hence it attitude to different perspectives and theories tends to be bland – multiplicity adds to the ‘richness’ of the subject