Becoming Peggy
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The Department offers a five-year program leading to the Bachelor of Architecture degree. The program provides opportunities for general education as well as preparation for professional practice and/or graduate study.
The Department of Architecture offers two graduate degrees in architecture: a three-year accredited professional degree (MArch) and a two-semester to three-semester research degree (MS in Arch). Double-degree programs are currently offered with the Department of Community and Regional Planning (MArch/MCRP) and the College of Business (MArch/MBA).
History
The Department of Architecture was established in 1914 as the Department of Structural Design in the College of Engineering. The name of the department was changed to the Department of Architectural Engineering in 1918. In 1945, the name was changed to the Department of Architecture and Architectural Engineering. In 1967, the name was changed to the Department of Architecture and formed part of the Design Center. In 1978, the department became part of the College of Design.
Dates of Existence
1914–present
Historical Names
- Department of Structural Design (1914–1918)
- Department of Architectural Engineering (1918–1945)
- Department of Architecture and Architectural Engineering (1945–1967)
Related Units
- College of Design (parent college)
- College of Engineering(previous college, 1914–1978)
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Abstract
This thesis examines the intimate relationship between a woman and her architecture, focusing on the importance of the patron's identity to an existing building: in particular, Peggy Guggenheim and the museum she created for her personal art collection, the Palazzo Venier dei Leoni in Venice. It will engage her narrative from three voices; (1) her own, through archival research of her publicized and private life, (2) personal, through an experiential investigation of her identity in the form of dresses made and worn by the author, and (3) the palazzo, through a spatial study of the architecture. The objective is to establish her place within the myriad of creative speculations that go into the conception of architecture (ie. concerning site, cultural context, urban situation, etc.) as a potential speculative subject. It argues that in understanding an extant work of architecture through equally creative analysis of material fact, the patron must be included.