ABPL 30050 MODERN ARCHITECTURE 建筑学 assignment 代写

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  • ABPL 30050 MODERN ARCHITECTURE 建筑学 assignment 代写

    Due Date : Thursday 4th May 2017, at 12 Noon.
    The essay carries 40% of the marks available in ABPL30050 Modern Architecture: MoMo to PoMo.
    Submission procedure
    Students should submit an electronic copy of their essay to the LMS via Turn-It-In and a hard copy via the
    assessment chute in the Baldwin Spencer Building.
    Please attach a cover sheet with the number and essay topic heading. The  cover sheet is available via the
    LMS site - under Assignment Tools)
    Please contact the Subject Coordinator, Dr Bronwyn Stocks (Bronwyn.stocks@unimelb.edu.au) if you
    experience difficulties with your submission.
    Late submissions are strongly discouraged and will be penalised. For each day beyond the assignment
    submission date 5% of the total possible marks for the assignment will be deducted.
    Students who face difficulties in submitting on time should contact the Subject Coordinator  before  the
    due date to discuss their situation.
    Submission format

    ABPL 30050 MODERN ARCHITECTURE 建筑学 assignment 代写
    Essays are expected to be:
    • 2000 words in length. (up to 10% above this limit is acceptable. Please see instructions below.)
    •  Typed in at least 12 point
    •  1.5 spaced
    •  Presented with margins of at least 2.5cm
    •  Page numbered
    •  Stapled
    •  Presented with a header containing the following information: name, student number, course code,
    tutor name, tutorial number.
    •  Accompanied by footnote citations in the Chicago 16A footnote style (N.B. NOT the Chicago 16B author
    date style). Clear instructions about how to use this system for different types of sources can be found here:
    N.B. In-text Harvard style citations are NOT acceptable. Note that all citations must include relevant page
    Assessment criteria
    •  How well the essay question is addressed.
    •  Evidence of thoughtful and analytical consideration of the topic.
    •  Flow of argument/discussion.
    •  Use of examples/primary material as evidence to support argument / explanation / discussion.
    •  Depth of research & documentation of sources.
    •  Use of research material, including synthesis of a range of sources and critical/analytical consideration of the
    •  Clarity of expression, spelling and grammar. (This is not a principal criterion, but at the very least you should
    proof read and spell/grammar check your essay prior to submission. Be kind to your reader.)
    Further notes on assessment criteria – Please read this carefully
    One of the key criteria for assessing essay submissions in Modern Architecture: MoMo to PoMo is how well
    students have answered the set question. Failing to answer the question will generally result in a failing grade.
    Students should ensure they are examining the appropriate content asked by the question and consider ALL parts
    of the question in their written response. If you are unsure as to what a question is asking, please check with
    your tutor or the subject coordinator.
    Other criteria used for assessment of submissions include the quality of the research and sources used to
    consider the question, the level of critical inquiry (that is, how well the topic is argued and discussed) and the
    overall structure and direction of the argument, including clear concluding remarks. The assignment calls for
    students to carefully and critically consider and answer the chosen topic using appropriate sources.
    Students should aim to consult a fair number of primary and secondary sources (a minimum of six),
    avoiding where possible very general texts or websites. Students should also include visual material to
    support their arguments where appropriate. Captions, citing name, title, place and date as well as image
    source should accompany illustrations. 
    Please note: Bear in mind that the assessment task requires you to craft an effective and efficient response. If
    your essay is well under the word limit then you may need to consider whether you have adequately answered all
    parts of the question. If you are well over the word limit then your text might warrant some editing to remove
    anything that is not specifically relevant. It is a good idea to read your work out loud (to family, friends or just to
    yourself) as this often highlights areas requiring improvement or amendment that might otherwise be overlooked
    in a silent read-through. The Academic Skills Unit is also a valuable resource that can provide further assistance:
    Please Note: Students found to have copied text without proper acknowledgment (that is, plagiarised) in their
    assignment submissions, will face the penalties as set out in the University policy on plagiarism. See:
    http://academichonesty.unimelb.edu.au/policy.html Please also consult the information contained in the subject
    reader. All quotes and sources of information (including web pages, if you must use them) must be properly cited.
    Copying from someone else’s work without acknowledgment is plagiarism, including failing to acknowledge the
    replication of exact wording (which should also be indicated by the use of quotation marks) and/or failing to
    acknowledge the source of key ideas. N.B. Essays which contain plagiarized text will receive 0 marks. Serious
    cases of plagiarism will be subject to disciplinary action, in accordance with Faculty policy.
    Choose one of the following topics:
    1.  Both the emigré architects Rudolph Schindler and Richard Neutra were inspired by the work of
    Frank Lloyd Wright and worked with Wright after their respective moves to the United States of
    America. Compare and contrast the modern architecture being designed by Schindler and Neutra,
    with that of Wright. What similarities or differences are evident in their respective approaches? Use
    examples to demonstrate your argument.
    2.  Compare and contrast the Expressionist designs of the German architects, including Erich
    Mendelsohn, with those of the Amsterdam School, including Michel de Klerk.
    3.  In 1923, Walter Gropius wrote, “The Bauhaus believes the machine to be our modern medium of
    design and seeks to come to terms with it.” How is this ideal expressed in the work of the Bauhaus
    between 1923 and 1933? In your response, explain how and why this differs from the school’s
    approach/direction as well as its products and architecture prior to this.
    4.  Modern architecture in Scandinavia was based on traditions that were quite particular to the region
    and quite different to the driving forces of International Modernism in France, the Netherlands and
    Germany. Compare and contrast the work of one Modernist Scandinavian architect who took a
    “regionalist” approach with the work of one French, German or Dutch architect who practiced at
    the same time and whose work was more “international” in approach. Analyse specific examples of
    built work to support your discussion and consider in your response the impact upon these
    different contexts and traditions.
    5.  Is there consensus on what is meant by Postmodernism in architecture? Examine the writings of
    Charles Jencks, Heinrich Klotz and William Curtis in your answer.
    6.  How do the principles of modern architecture and urbanism formulated by Peter & Alison Smithson
    and Team 10 differ from those developed by CIAM? How were these differences manifested in
    design work of the Smithsons and other members of Team 10?
    7.  In 1930s Europe, architecture and political ideology would become intimately connected
    through the buildings created under the National Socialist (Nazis) in Germany and the
    Fascists in Italy. Compare and contrast the architecture and ideology associated with these
    two right-wing political movements and allies.
    8.  Discuss how Mies van der Rohe’s Glass Skyscraper project of 1922 relates to the design of the
    Seagram building. Note differences and similarities, and explain them in relation to technological
    and cultural contexts of the two projects.
    9.  Compare and contrast the work of one member of the New York Five with that of Robert Venturi.
    Do they begin their architecture from different philosophical positions? What similarities and
    differences in their approach to post-modernism can be identified?
    10.  Choose examples of utopian architecture proposed by three different architects in the twentieth
    century. Compare and contrast the ideas that are being proposed about urban life, the form and
    expression of the proposals and the context in which the proposals were made.
    11.  Choose two architects associated with the Russian avant-garde in architecture after 1917,
    including the Constructivist movement and other groups, and compare and contrast their designs
    and built work before 1930.
    12.  Compare and contrast the work of two of the architects included in the Deconstructivist
    Architecture exhibition held at the Museum of Modern Art in New York in 1988. What made their
    work ‘deconstructivist’? How has the work of the architects you have chosen developed in
    subsequent years?
    13.  English high-tech architects such as Norman Foster developed their principles at the same time as
    post-modernism became the dominant architectural manner. What common ground did the
    movements share and what were the key differences? Discuss with specific examples.
    14.  The manifesto has played an important part in the development of modern architecture in Europe.
    Compare and contrast the written and designed products of the Italian Futurists with that of the
    Dutch de Stijl movement. How did the use of the written word help shape their respective
    architectural visions?
    15.  Discuss the use of off-form concrete in the later work of Le Corbusier, referring to at least three
    buildings completed in the 1950s. Note its first appearance and how its use is developed in the
    later buildings as well as how this results in differing expression/effect.
    16.  Discuss the differences between housing projects proposed by Dutch architects such as Michel de
    Klerk and those proposed by Le Corbusier in the 1920s. What proposals for housing in the urban
    environment were made and why were there differences in their approaches?
    17.  Charlotte Perriand, Lilly Reich, Eileen Gray and Marion Mahony were women designers and
    architects who were at the forefront of the modern movement, yet are now less known than their
    male counterparts. Examine the work of one female designer and/or architect of the first half of
    the twentieth century. Consider the role of collaboration in their work and reasons why their
    contribution to European modernism has been given comparatively little attention.
    18.  “One should not be surprised to find, in fact one would expect to find an archaic quality in
    architecture today. This is because real architecture is just beginning to come to grips with a
    whole new order of artistic expression, growing in turn from the new set of tasks which society
    has set for the architect.” Louis Kahn 1955. Discuss with reference to three buildings designed
    by Kahn and, where appropriate, works by other architects.
    19.  The architecture of the New York Five drew on aspects of Le Corbusier’s work. By examining the
    work of one member of the Five, explore this connection in detail. How has this architect’s
    approach to architectural design developed subsequently?
    20.  Analyse the development of the open/free plan by Le Corbusier and Mies van der Rohe. Discuss with
    reference to two works by each architect; exploring the differences and similarities in their approaches
    and how this is developed in these works.
    One more reminder: read the instructions on pages 1-2
    ABPL 30050 MODERN ARCHITECTURE 建筑学 assignment 代写