Cumming, Elizabeth and Wendy Kaplan. The Arts and Crafts Movement. London and New York: Thames

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1 Fall 2017 ARI 368R/388L: HISTORY OF INTERIOR DESIGN II Instructor: Dr. Tara Dudley Unique No /00470 TTh 9:30 11:00a SUT Office: WMB 5.120B Office hours: TTh 9 9:30a or by appt. E mail: taradudley@utexas.edu COURSE DESCRIPTION AND OBJECTIVES ARI 368R/388L will explore the history of interior design, covering the period from late eighteenth through the twentieth centuries. The primary goal of the course is to explore prevailing design philosophies as well as the relationship of interior design to architecture and the broader social context, including economic and social influences, throughout history. This course will focus on developing students' visual vocabulary of interior design, including interior spaces, furniture, architectural details, and decorative arts objects. Students will familiarize themselves with sources and concepts used in interior design history and theory; enhance their critical thinking and writing skills; and develop methods for scholarly research within the field of interior design. Students will also hone their research and writing skills, with specific attention to standards of scholarship within the fields of architectural history, interior design history, design history, and historic preservation. The course meets twice a week for one and a half hours and carries the Writing Flag as a Substantial Writing Component (SWC). Students are expected to read a wide array of primary and background texts and write two short papers. They will also prepare a substantial research paper (8 10 pages undergraduates, pages graduates) with a preparatory draft. PREREQUISITES ARI 368R/388L is open to graduate students and advanced undergraduates. SOA students must have completed Architectural Interior Design History I with a grade of at least a C, or with instructor consent. Upper division undergraduate and graduate students from other departments are welcome to enroll with the consent of the instructor. REQUIRED TEXTS Harwood, Buie, Bridget May and Curt Sherman. Architecture and Interior Design: An Integrated History to the Present. Upper Saddle River: Pearson/Prentice Hall, ISBN (you may also use the volume 2 of the 2009 edition; see Reserved Texts below) Cumming, Elizabeth and Wendy Kaplan. The Arts and Crafts Movement. London and New York: Thames and Hudson, ISBN Massey, Anne. Interior Design Since rd edition. London and New York: Thames and Hudson, ISBN Whitford, Frank. Bauhaus. London and New York: Thames and Hudson, ISBN

2 RESERVED TEXTS Harwood, Buie, Bridget May, and Curt Sherman, Architecture and Interior Design from the 19th Century, An Integrated History. Volume 2. 2 nd edition. Prentice Hall, ISBN ; assigned page numbers will vary) COURSE WEBSITE Students can access the course website through Canvas at utexas.instructure.com. You will need an EID to login; if you are registered for the course, you should see Interior Design History II (00415/00460) under the list of Courses. Course materials, including syllabus, reading assignments, auxiliary readings, and work assignments will be posted on this site. You may also be asked to submit some assignments electronically through Canvas. ASSIGNMENT DUE DATE/EXAM SCHEDULE Tues. Oct. 3 Tues. Oct. 17 Tues. Oct. 24 Thurs. Nov. 9 Thurs. Dec. 7 Thurs. Dec. 18 Short Paper No. 1 Due Mid term Exam Abstract, Bibliography, Outline Draft Research Paper Draft Due Final Research Paper Due Final Exam COURSE REQUIREMENTS AND GRADING Students grades will be based on two short papers (30%), a mid term exam (15%), draft research paper (10%), final research paper (20%), final exam (20%), and attendance and participation in class discussions (5%). The distribution of percent and corresponding grades is given below (plus and minus will be given): A (94 100%) A (93 90%) B+ (89 86%) B (85 83%) B (82 80%) C+ (79 76%) C (75 73%) C (72 70%) D+ (69 66%) D (65 63%) D (62 60%) F (59% or below) WORKLOAD GUIDELINES At a minimum, students are expected to spend about two hours of outside preparation for every hour in class. For this class, it means a minimum of six hours outside of class per week; if writing assignments are due, students should expect to spend more time to complete their work. Required readings are outside preparation for this course and should be completed before class for the day they are assigned. Students are responsible for all the material in the required readings, whether or not the material has been discussed in class. ATTENDANCE POLICY Class attendance is required. Students are also required to attend all discussion sessions. Your success in this class will depend, to a large degree, upon your attendance and active engagement. In class material will be reinforced in the required and recommended readings, and some in class material may not be covered in the readings. Students are responsible for all lecture material whether or not it is included in the assigned readings. Class attendance is required and will be monitored. Sometimes an illness, emergency, or other circumstances may cause you to miss class. Missing extensive days results in a significant impact on your work, and to your participation in the class. EACH ABSENCE, FOR ANY

3 REASON (except in rare extenuating circumstances) BEYOND THREE, WILL RESULT IN A REDUCTION OF YOUR FINAL EARNED GRADE. Therefore, 10 points of your total score will be deducted from your final grade for each absence after three absences. (For example, 4 absences = 10 points deducted from your total points. Five absences = 20 points deducted from your total points, etc.) If you miss class, try to borrow a classmate's notes. The instructor will not assume responsibility for providing class notes to you. All exams must be taken on the dates scheduled. Students will only be permitted to take make up exams in the case of medical or family emergencies, or if they are away on official university business. Late papers will not be accepted. Please take advantage of my office hours to discuss the course or just to talk. If you cannot make my regular office hours, I am willing to meet you by appointment. RELIGIOUS HOLIDAYS The University respects religious holidays. Students are excused from attending classes or other required activities, including examinations, for the observance of a religious holiday, including travel for that purpose. If you will miss class (including exams) to celebrate a religious holiday, UT Austin policy requires that you must notify me of your pending absence AT LEAST 14 days prior to the date of the observance of a religious holy day (and your absence). You will be given an opportunity to complete the missed work, including examinations, within a reasonable time (generally one week) after the absence. ACADEMIC ACCOMMODATIONS FOR STUDENTS WITH DISABILITIES The University of Texas at Austin provides upon request appropriate academic accommodations for qualified students with disabilities. For more information, contact Services for Students with Disabilities at (voice) or (video phone). UT HONOR CODE AND ACADEMIC DISHONESTY 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 community. Cheating and plagiarism (using another person's words or ideas without proper attribution) are serious academic offenses and may result in a failing grade or expulsion from the university! If you are unsure about what constitutes plagiarism or have questions about how to employ source material in your papers, please consult with me. You are encouraged to discuss your papers with your peers but the work you submit must be your own. Plagiarism is the most common form of academic dishonesty. Plagiarism can be a difficult concept to define; however, simply put, plagiarism is using other people s ideas and words without clearly acknowledging the source of that information. It is important to note that at the university we are continually exposed to other s ideas. We read ideas and words in textbooks, hear them in lectures, discuss them in class, and incorporate them into our own writing. One must always keep in mind that you must give credit when credit is due. Plagiarism can occur in a myriad of forms and media. Although most commonly associated with writing, all types of scholarly work, including architectural and interior design projects, music, scientific data and analysis, and electronic publications. Plagiarism includes, but is not limited to, the appropriation, buying, receiving as a gift, or obtaining by any other means another's work and the submission of it as one's own academic work offered for credit. University policy pertaining to scholastic dishonesty applies to in class

4 assignments, projects, examinations, research reports, papers, and assignments required for the course. Additional information on the definition of academic dishonesty including plagiarism can be found at 10/app/gi09.appc03.html. In order to avoid plagiarism, you must give credit whenever you use: Another person s idea, opinion, or theory; Any facts, statistics, graphics, visual images (i.e.: drawings, videos, etc.) that are not common knowledge; Quotations of another person s spoken or written words; or Paraphrase of another person s spoken or written words. Students who are in violation of the university s plagiarism policy may be subject to the following: Disciplinary probation Receive a failing grade for a test, assignment, or the course Creation of a disciplinary record which may impact their future Suspension or expulsion from The University of Texas at Austin Denial of degree If you are unsure about what constitutes plagiarism and academic dishonesty, or have difficulty addressing source material in your papers, please consult with the instructor. WRITING COURSE This course carries the Writing Flag as a Substantial Writing Component (SWC). SWC courses are designed to give students experience with writing in an academic discipline. In this class, you can expect to write regularly during the semester, complete substantial writing projects, and receive feedback from your instructor to help you improve your writing. You will also have the opportunity to revise one or more assignments, and to read and discuss your peers work. You should therefore expect a substantial portion of your grade to come from your written work. SWC courses meet the following criteria, as established by The University of Texas at Austin policy (see 1. The course includes at least three writing assignments per semester, exclusive of exams and quizzes. 2. The three or more writing assignments total approximately 16 typewritten, double spaced pages (about 4,000 words.) 3. Major rewriting that requires additional original writing and not merely editing can be considered a separate assignment. 4. Students will receive timely and detailed critique following each writing assignment concerning the quality of their writing and suggestions for improvement. 5. Performance on the writing assignments is an important component of the student s course grade. 6. Quality of written expression is an important component in determining the student s course grade.

5 WRITTEN ASSIGNMENTS INSTRUCTIONS FOR PAPERS All assignments must be submitted at the beginning of class on the due dates, in person or according to previously arranged electronic submittal protocol. Students will only be permitted to turn in late projects in the case of religious holiday observance, medical or family emergencies, or if they are away on official university business. Late assignments will be penalized, with a drop of ½ letter grade per day (including weekend days). Incompletes ( X grades) will be awarded only in instances of medical or severe family emergencies. Documentation will be required. All students are required to write one page reading response papers, one short paper (3 5 pages), one short paper (5 7 pages), and one longer research paper (8 10 pages undergraduates, pages graduates). The Short Paper and Research Paper will be typed and double spaced in a legible font (i.e. Times New Roman, Arial, Calibri) at 12 point. Please use a standard format for notes and bibliographical citations (such as the Chicago Manual of Style) and pay careful attention to the quality of your writing. You must include a properly formatted bibliography and images that are referenced in the text. You must choose a variety of sources, including books and journal articles. You may not cite the course textbook as a major source for your research. Online sources must be approved. Parenthetical documentation is NOT acceptable. Online sources are NOT permitted except with the approval of the instructor. Avoid jargon, awkward phrasing, and passive voice constructions. Please feel free to discuss with me any problems you may encounter. Please remember that this course fulfills the Writing Flag. Clarity of ideas, grammar, sentence structure, and spelling count as much as content. The successful paper will have a clear thesis statement, an introduction, body, and conclusion.

6 SHORT PAPER NO. 1 ORNAMENT (due October 3; 100 points) This short paper explores Christopher Dresser s definition and approach to the creation of ornament. Design an ornamental pattern or detail following the procedure that Dresser describes in The Art of Decorative Design (selections from The Art of Decorative Design (1862) pgs. 1 66, , are posted on CANVAS). First, outline Dresser s design production process. Then, describe briefly but specifically your process (and how it follows Dresser s) and what you sought to achieve. We will share your designs and discuss your design production processes in class. This paper will be 3 5 pages, doublespaced. RESEARCH PAPER Assignments for the research paper will be submitted in three components: 1. Abstract, Annotated Bibliography, and Outline (due October 24; 150 points) 2. Draft Paper (due November 9; 100 points) 3. Final Paper (due December 7; 100 points) For this assignment, you will. You MUST discuss your topic with me ahead of time. Please do not hesitate to discuss any independent research ideas you may have! Objectives: To expand your research skills by investigating primary source for historical material (i.e. drawings, prints, published professional magazine). To continue to work on your writing skills, using specific language, detailed descriptions, and correct grammar and spelling to express your ideas. Select ONE of the three topics below: TOPIC ONE: Pop Culture and Interior Design The purpose of this paper is to explore how designs and interiors were influenced by popular culture, or vice versa. The Metropolitan Museum of Art s exhibition Living in Style: Five Centuries of Interior Design from the Collection of Drawings and Prints highlighted the history of design through the design making process. The exhibit featured not only furnishings but also print matter that illustrate the design process, the presentation/advertisement of finished objects, and social and cultural issues surrounding the manufacture, ownership, and use of historic objects. Carefully read the text of the exhibit. Select object(s) and/or image(s) from the archived exhibit at: in style Using Living in Style as a springboard, themes to consider are: how interior design from the late 18 th century and onward was influenced by historical events and trends (and vice versa); How the availability and use of certain media (e.g. consider the advent of photography) affected the designer s design process;

7 How the availability and use of certain media influenced the dissemination/reception of the designer s finished projects; what audiences, designers, and manufacturers sought to engage through these drawings and prints; How ideas explored in the drawing were realized in actual furnishings and objects; and How these prints, drawings, and objects affected the dissemination of ideas about certain styles and types of furnishings. Please feel free to incorporate objects or interiors that we discuss in class or drawings/prints from our textbooks, course readings, or other primary sources. You may select a certain type of drawing or print, design style/trend, country, or type of furnishing to explore the topic. TOPIC TWO: Interpreting the Mid century Modern Interior In this paper, you will analyze a published mid twentieth century modern interior based on the definitions for modern design we have/will developed in class. Investigate professional interiors and architecture journals from the Architecture Library and/or Alexander Architectural Archive (a list will be provided). Investigate the professional journal Interiors, found in the Architecture Library or Alexander Archive (focus on issues published between 1950 and 1960). Select 3 5 interiors that interest you. Read about them in the journal(s) and scan/photocopy the image of the interiors provided; Analyze the interiors and, most importantly, explain how they represent typical significant characteristics of mid century modern design; Discuss the intent of the designers and needs of the clients in the spaces: o How did modern design reflect this intent? o Was the design successful or unsuccessful? Discuss how modernism was promoted to the public via the publication of the interior; Explore how the interiors and their design characteristics influenced design/designers later in the twentieth century and today. TOPIC THREE: Author s Choice Choose a subject within the parameters of the course that appeals to you. Examples of viable topics include: Typological study: domestic interior; religious architecture and interiors; retail spaces; transportation venues (train stations, airports, etc.); movie or stage set design; exhibition pavilion design; theater interiors; etc. Concepts: space; materials; ornament; pattern; color; circulation; light; integration of systems (i.e. heating and cooling); design methods / practice; collaboration; authorship Theory as related to designed projects (i.e. how does Loos s theory of ornament affect his interiors?) Innovations: new materials; green design; atypical planning; etc. Decorative Arts: textiles; furnishings; etc. Case Study: one interior or comparative analysis between two (or more) interiors. Biographical Case Study: one designer.

8 COURSE SCHEDULE (subject to change) Week 1: Course Overview August 31 Syllabus & Course Overview Week 2: 19 th Century (Late) Neoclassicism September 5 French Directoire and Empire Harwood, Chap. 27 CANVAS: Adrian Forty, Objects of Desire: Design and Society since 1750, Chap. 1 (pg ) September 7 German Biedermeier Harwood, Chap. 28 Week 3: 19 th Century (Late) Neoclassicism September 12 British Regency Harwood, Chap. 29 September 14 American Empire Harwood, Chap. 30 Week 4: Eclecticism and Historicism September 19 Nineteenth Century Eclecticism Harwood, Chap (skim pg ) Cumming and Kaplan, Arts and Crafts, Chap. 1 (pg. 9 30) September 21 Academic Historicism Harwood, Chap (skim pg ) Week 5: Industrialization and Its Discontents September 26 Design Reform in England and the U.S. Harwood, Chaps. 26, 40 and 41 (pg and ) CANVAS: Catherine Beecher and Harriet Beecher Stowe, excerpts from The American Woman s Home (1869) from Leland M. Roth, America Builds (1983)

9 September 28 Richard Morris and the English Arts and Crafts Movement Harwood, Chaps. 42 and 43 (pg ) Massey, Inter Design Since 1900, Chap. 1 (pg. 7 29) Cumming, Chaps. 2 and 3 (pg ) Week 6: Industrialization and its Discontents, cont d. October 3 The Aesthetic Movement and Art Nouveau Reform in Ornament Harwood, Chap. 44 (pg ) Massey, Chap. 2 (pg ) SHORT PAPER NO. 1 DUE October 5 The American Arts and Crafts Movement Harwood, Chap. 46 (pg ) Cumming, Chaps. 4 and 5 (pg ) CANVAS: Louis Sullivan, Ornament in Architecture from Kindergarten Chats (1892) Week 7: Emergence of the Interior Design Profession October 10 Emergence of the Interior Design Profession, Part I Massey, Chap. 5 ( ) CANVAS: Elsie de Wolfe, The House in Good Taste (1913), Chaps. 2 4 (pg ) CANVAS: Penny Sparke, The Modern Interior, Chap. 4 (pg ) CANVAS: Tara Dudley, Seeking the Ideal African American Interior: The Walker Residences and Salon in New York, Studies in the Decorative Arts (Fall Winter ) October 12 Emergence of the Interior Design Profession, Part II Week 8: Search for a New Style October 17 MID TERM EXAMINATION October 19 Frank Lloyd Wright and the Modern Interior Harwood, Chap. 46 (pg ) Cumming, Chaps. 4 and 5 (pg )

10 Week 9: Early Modernism October 24 Vienna Secession & Wiener Werkstätte Harwood, Chap. 45 (pg ) Frank Whitford, Bauhaus, Chaps. 1 3 (pg. 9 30) CANVAS: Sparke, The Modern Interior, Chap. 5 (pg ) CANVAS: Josef Hoffmann, The Workprogram of the Wiener Werkstätte (pg. 7 10) RESEARCH PAPER ABSTRACT, ANNOTATED BIBLIOGRAPHY, AND OUTLINE DUE October26 Emergence of Modernism Harwood, Chap. 47 (pg ) CANVAS: Kenneth Frampton, The Deutsche Werkbund in Modern Architecture (pg ) Week 10: Modernism October 31 Adolf Loos Massey, Chap. 4 (91 122) CANVAS: Adolf Loos, Ornament and Crime (1910) CANVAS: Christopher Long, The Origins & Context of Adolf Loos s Ornament & Crime November 2 Cubism and De Stijl/The Bauhaus Harwood, Chaps. 48 and 49 (pg ) Whitford, Chaps (pg ) CANVAS: Walter Gropius, Manifesto of the Staatliche Bauhaus in Weimar (1919) Week 11: Interwar Modernism in France, Vienna, and Scandinavia November 7 Le Corbusier and the International Style Harwood, Chap. 50 (pg ) Whitford, Chap. 14 (pg ) CANVAS: Le Corbusier, Type Needs: Type Furniture and The Decorative Art of Today from The Decorative Arts of Today (1925) November 9 The 1925 Paris Exposition: Art Deco and Art Moderne Harwood, Chap. 51 (pg ) Massey, Chap. 4 (pg ) DRAFT RESEARCH PAPER DUE

11 Week 12: Interwar Modernism in America November 14 Wiener Wohnkultur and Scandinavian Modernism Harwood, Chap. 52 (pg ) CANVAS: Christopher Long, The Other Modern Dwelling: Josef Frank and Haus & Garten (1999) November 16 American Design Between the Wars CANVAS: readings TBD from Kristina Wilson, Livable Modernism: Interior Decorating and Design during the Depression. New Haven: Yale, Week 13: Thanksgiving Week NO CLASS Week 14: Modernism in the Postwar Era and A New Age of Design November 28 Postwar Design The New American Home Massey, Chap. 6 (pg ) CANVAS: Penny Sparke, The Modern Interior, Chap. 10 The Designed Interior CANVAS: excerpts from Paul R. Williams, The Small Home of Tomorrow (1945) and New Homes for Today (1946) November 30 Postmodernism Harwood, Chap. 57 (pg ) Massey, Chap. 8 (pg ) CANVAS: 20th Century Architecture, Chap. 7 Postmodernism, Deconstructivism... Week 15: Twentieth Century Design December 5 Twentieth Century Design Readings TBD December 7 Twentieth Century Design Readings TBD FINAL PAPER DUE FINAL EXAM Monday, December 18 2:00 5:00 pm