Universitat Internacional de Catalunya

Architectural Composition I

Architectural Composition I
6
7986
2
First semester
OB
Project Planning Module
Composition 1
Main language of instruction: English

Other languages of instruction: Spanish

Teaching staff


            Attention to the subject Architectural composition 1

Attention to students is given at all times when it is required, throughout the scheduled class schedule, both theoretical and practical. On the other hand, a specific schedule of personalized, individual attention is also established, which is set every Tuesday between 3:00 p.m. and 4:00 p.m. Without detriment to the choice of another time that can be arranged by appointment.

By appointment, teaching staff:

Prof. DDr. Alberto T. Estévez - estevez@uic.es

Prof. Dr. Yomna K. Abdallah - yomnaabdallah@uic.es

Prof. Dr. Angad Warang – angad@uic.es

Introduction

“You can learn from the past but you can't continue to be in the past; history is not a substitute for imagination.”

Frank Gehry

"And the Modern Movement is the past, it is history, which now, entering the third decade of the 21st century, is more than 100 years old."

Alberto T. Estévez

Within the “Project” Module (“Architectural Design Module”) of the Degree in Architecture, the Matter “Composition” (poorly translated as "History and Theory of Architecture") has 24 ECTS (European credits). These are distributed uniformly in 4 parts, in the respective 4 semesters of the second to third year: specifically, Composition 1, 2, 3 and 4. Also having an “Introduction” specific subject in the first year. As also have an “Introduction” specific subject in the first year for example the Matters of “Projects” and of “Construction”. The five subjects (Composition 1, 2, 3, 4 and this “Introduction”) should then be aligned in coherence with each other, updated and coordinated, as happens with the rest of the subjects of the Degree in Architecture.

Well, teaching and studying “Composition”, entering the third decade of the XXI century as we are, is very different from teaching and studying it as it was done 50 years ago. It would be forgetting or not understanding everything that has happened in the last half century: a great evolution of ideas and an enormous enrichment of understandings that have existed until now about architecture around the world. Something that the current architecture student deserves to know and cannot be hidden from him due to ignorance or prejudice.

Thus, for example, today it must be asserted that architecture is not language: an idea that became especially fashionable many decades ago. Architecture is architecture, although it seems obvious to say so, which is what will be explained now in the subjects of Composition. Since every time it is said that architecture is language, poetry, “frozen music”, or any other assertion, what you do is establish a metaphor. And therefore, as in any metaphor, there is part of the truth and part of the lie. And “believing” it entirely, and building a single understanding around it, dogmatically clings, discriminates against other understandings, limits the horizon and impoverishes it.

In the same way that it is impoverished to think that the Matter of “Composition” tries to teach the history of art and architecture. Again, one must go to what is apparently obvious: in Composition, "Composition" is taught and studied, which is part of the “Project” Module. Module where one must also learn to project, to design, and to compose. And to project, and to design, and to compose, for our time, which is different from the last century. It is also in Composition where must be taught and studied to be an architect, not a historian. An architect of our time. In any case, it then tries more to teach to transcend history, to learn to “create objects”, which does not simply try to “listen to objects”, which is again a metaphor. And however erudite the quotations may seem to support certain understandings, they too become obsolete over time, and must be critically assumed.   Thus, for example, today it is no longer understood that “architecture history is made because the meaning of current architecture is sought”, as Tafuri said more than half a century ago, but there are more ontological and experiential arguments behind it. Nor should it be generalized about "the anguish of the present" that he also said, to solve it by projecting. Concept more typical of a Eurocentric and existentialist world, of the last century, than of the global, multicultural and biodiverse world in which we are today. Etc.

Pre-course requirements

No prerequisites needed.

Objectives

Sobre los contenidos de la Materia Composición, los objetivos de la titulación que afectan especialmente a esta materia son:

1.        Aptitud para crear proyectos arquitectónicos que satisfagan a su vez las exigencias estéticas y las técnicas;

2.        Conocimiento adecuado de la historia y de las teorías de la arquitectura, así como de las artes, tecnología y ciencias humanas relacionadas;

3.        Conocimiento de las bellas artes como factor que puede influir en la calidad de la concepción arquitectónica;

Así pues, los contenidos de esta materia se disponen en línea con tales objetivos, con el fin de desarrollar las correspondientes competencias

(03, 04, 34-T, 35-T, 40, 48, 49, 50, 51, 53, 54, 55, 56 y 57, 63, 64, 65, 66, 67, 68, 69, 73, 74, 77):

-       Composición, teoría e historia de los proyectos urbanos y de arquitectura.

-       Crítica arquitectónica.

-       Teorías generales de la forma, de la composición y de los tipos arquitectónicos.

-       Historia general de la arquitectura.

-       Procesos de simbolización,  funciones prácticas y ergonomía desde la composición, teoría e historia.

-       Necesidades sociales, calidad de vida, habitabilidad y programas básicos de vivienda desde la composición, teoría e historia.

-       Tradiciones arquitectónicas, urbanísticas y paisajísticas de la cultura occidental. / Sus fundamentos técnicos, climáticos, económicos, sociales e ideológicos.

-       Estética. / Teoría e historia de las bellas artes y de las artes aplicadas.

-       Relación entre patrones culturales y responsabilidades sociales del arquitecto.

-       Bases de la arquitectura vernácula.

-       Sociología, teoría, economía e historia urbanas.

Estos 11 apartados son a su vez los resultados de aprendizaje a exigir al alumnado para la evaluación de las competencias.

Competencies

  • 03 - To acquire adequate knowledge of spatial representation systems applied to architecture and urbanism .
  • 04 - To acquire knowledge and apply it to the analysis and theory of form and the laws of visual perception in architecture and urbainism.
  • 34-T - Ability to design, practice and develop basic and execution projects, sketches and blueprints.
  • 35-T - Ability to conceive, put into practice and develop urban projects
  • 40 - Ability to express architectural criticism.
  • 48 - To acquire adequate knowledge of the general theories of form, composition and architectural typologies
  • 49 - To acquire adequate knowledge of the history of architecture.
  • 50 - To acquire adequate knowledge of the study methods for the processes of symbolization, practical functions and ergonomics.
  • 51 - To acquire adequate knowledge of the study methods of social needs, quality of life, habitability and basic housing programmes
  • 53 - To acquire adequate knowledge of architectural, urban development and landscaping traditions of Western culture, as well as their technical, climate, economic, social and ideological foundations
  • 54 - To acquire adequate knowledge of the aesthetics, theory and history of Fine Arts and Applied Arts.
  • 55 - To acquire adequate knowledge of the relationship between cultural patterns and the social responsibilities of the architect
  • 56 - To acquire adequate knowledge of the principles of vernacular architecture
  • 57 - To acquire adequate knowledge of urban sociology, theory, economy and history.
  • 63 - Ability to conceive, put into practice and develop architectural and urban planning projects adapting with new times.
  • 64 - Ability to conceive, put into practice and develop architectural and urban culture.
  • 65 - Ability to recognise contemporary characteristics and freedom in the understanding of architecture.
  • 66 - Ability to internalise architectural form.
  • 67 - Ability to understand and analyse architecture and the city in relation to philosophical and societal systems.
  • 68 - Ability to apply the aesthetics, theory and history of Fine Arts to architecture and urban planning.
  • 69 - Ability to discover the critical-cultural dimension of the role of the architect
  • 73 - To acquire adequate knowledge of research, experimentation and innovation in architecture.
  • 74 - To acquire adequate knowledge of new architectural concepts and practices.
  • 77 - To acquire adequate knowledge of the analysis and theory of form and laws of visual perception.

Learning outcomes

See next part.

Syllabus

Architectural composition 1

Origins of modern architecture: architecture and design from the end of the 19th century and first half of the 20th century (1851-1939)

Prof. DDr. Alberto T. Estévez + Prof. Dr. Yomna K. Abdallah + Prof. Dr. Angad Warang

 

 

Program and planned work plan (agenda), 6 ECTS (x 25-30 h./ECTS = 150-180 h. Dedication 15 weeks, 10-12 h./sem.)

WEEK 1                      (Tuesday, September 13, 2022, 10:00-14:00 h).

10:00 h. Introduction (Opening class: Justification - Objectives - Competences - Contents - Methodology - Bibliography - Evaluation - Attention - Documents).

11:00 h. Topic 1: Breaking the classical tradition, in pursuit of a new art, architecture and design for a new world.

Crisis of historicism - Birth of a “New Style” - Antecedents and Precursors (contextualization).

Universal Exhibitions - Architecture and design with iron (the new materials) - Joseph Paxton [Crystal Palace].

12:00 h. Topic 2: Applied Arts Reform in the British Countries - Ruskin and Morris - Arts & Crafts (Mackmurdo, Dresser, Voysey).

 

WEEK 2                    (Tuesday, September 20, 2022, 10:00-14:00 h).

- 10:00 h. Topic 3: Modernisme in Catalonia I (Domènech, Puig, Jujol) - Emotionality and rationality - The Catalan triad (Domènech, Puig, Jujol).

- 11:00 h. Topic 4: Modernisme in Catalonia II (Gaudí) - Emotionality and rationality - The Catalan genius (Gaudí).

- 12:00 h. Theoretical-practical class about Art Nouveau and Artificial Intelligence.

 

WEEK 3                    (Tuesday, September 27, 2022, 10:00-14:00 h).

- 11:00 h. Theoretical-practical class, at La Pedrera - Casa Milà - architecture itinerary of Modernisme (meeting point, corner of Paseo de Gracia / Calle Provenza).

 

WEEK 4                   (Tuesday, October 4, 2022, 10:00-14:00 h).

- 11:00 h. Theoretical-practical class, at La Sagrada Familia (meeting point, facade of the Sagrada Familia on Calle Marina).

 

WEEK 5                   (Tuesday, October 11, 2022, 10:00-14:00 h).

- 10:00 h. Topic 5: Art Nouveau in Belgium (Horta) - Free line and geometry.

- 11:00 h. Topic 6: Modern Style in Scotland (Mackintosh) - Free Line and Geometry.

- 12:00 h. Theoretical-practical class (presentations of monographic works).

 

WEEK 6                   (Tuesday, October 18, 2022, 10:00-14:00 h).

- 10:00 h. Partial exam 1st part (35% of the final grade): each of the two partial exams must be passed to make an average with the other for the final grade

- 11:00 h. Topic 7: Nancy School in France (Gallé, Daum, Majorelle) and the Parisian scene (Guimard, Lalique, Mucha)

- 12:00 h. Theoretical-practical class (presentations of monographic works)

 

WEEK 7                  (Tuesday, October 25, 2022, 10:00-14:00 h).

- 10:00 h. Topic 8: Jugendstil in Germany - Kunstwollen and Typisierung - Deutscher Werkbund (Van de Velde, Muthesius, Behrens).

- 11:00 h. Topic 9: Secessionstil in Austria - Ornament and Crime: Loos - Wagnerschule (Wagner, Hoffmann, Olbrich).

- 12:00 h. Theoretical-practical class (presentations of monographic works).

 

WEEK 8                 (Tuesday, November 1, 2022).

NO LECTURES (Holiday).

 

WEEK 9                (Tuesday, November 8 2022, 10:00-14:00 h).

- 10:00 h. Topic 10: The situation in America - Shakers / Tiffany - The Chicago School (from skyscraper to the Expo1893).

- 11:00 h. Topic 10: Singular characters: Richardson, Sullivan, Wright.

- 12:00 h. Theoretical-practical class (presentations of monographic works).

 

WEEK 10             (Tuesday, November 15, 2022, 10:00-14:00 h).

- 10:00 h. Topic 11: The architectural avant-gardes - Expressionism and Neue Sachlichkeit – Bauhaus.

- 11:00 h. Topic 11: Singular characters: Gropius, Rietveld, Mendelsohn.

- 12:00 h. Theoretical-practical class (presentations of monographic works).

 

WEEK 11            (Tuesday, November 22, 2022).

- 10:00 h. Topic 12: “Heroes, deeds and exile” - Rational-functionalism and totalitarian neoclassicisms - International Style.

- 11:00 h. Topic 12: Singular characters: Mies van der Rohe, Terragni, Le Corbusier.

- 12:00 h. Theoretical-practical class (presentations of monographic works).

 

WEEK 12            (Tuesday, November 29, 2022, 10:00-14:00 h).

- 11:00 h. Theoretical-practical class, at Mies Pavilion and MNAC Art Nouveau Room (meeting point, Mies Pavilion, Montjuic).

 

WEEK 13            (Tuesday, December 6, 2022).

NO LECTURES (Holiday).

 

WEEK 14            (Tuesday, December 13, 2022, 10:00-14:00 h).

- 10:00 h. Theoretical-practical class (realization of the main plan of a paradigmatic building in UIC patio).

 

WEEK 15            (Tuesday, December 20, 2022, 10:00-14:00 h).

- 10:00 h. Delivery of class notes, hand-written and dated.

- 10:00 h. Partial exam 2nd part (35% of the final grade): each of the two partial exams must be passed to make an average with the other for the final grade.

 

EXAM WEEK    (Monday, January 9, 2023, 09:00 h).

- 09:00 h. Final exams 1st call.

 

REVIEW WEEK (Wednesday, January 25, 2023, 15:00 h).

- 15:00 h. Review by appointment.

 

EXAM WEEK 2nd CALL (Thursday, June 15, 2023, 18:00 h).

- 18:00 h. Final exams 2nd call.

 

REVIEW WEEK (Wednesday, July 5, 2023, 17:30 h).

- 17:30 h. Review by appointment.

Teaching and learning activities

In person



            Methodology of the subject Architectural composition 1

Some of the words that will now appear in this paragraph were already written years ago: “The course program does not announce the teacher’s lessons that students could attend, but rather indicates the work of the students throughout the course. Thus, it is not a program of shows to be offered to a passive audience that ‘takes notes’, but a work program, provisionally articulated in four levels: readings, exercises, lessons and visits.”[1]

Well, the readings have no secret. They are there, waiting for each student for years, decades, marked in the bibliography as “the course book”, and “the four books of the subject”, and others, general or specific according to topics. For some of these readings, the hours after the theoretical classes are reserved, always on the corresponding theoretical topic given just the same day in class, at which time it is convenient for each one individually to write by hand an extension of the aforementioned topic supported by the bibliography, in preparation for exams.

The exercises will make it possible to specify objectives, apply theory, stimulate teaching-learning, accelerate the acquisition of aptitudes, knowledge and capacities for today's architect, etc.

The lessons (theoretical classes) necessarily offer the student only an objective distillation of the concepts that are considered key for each program, in an operation that, in fact, the student himself will have to carry out, to pass the level of each subject. Where the emphasis of such teaching is rather on advising of the distillation criteria, and not on a dry enumeration of concepts. It is more explicit “why it is important”, and not a mere landing of “everything that is important”. Likewise, such a synthesis is supported by bringing out before the student a selection of architects, designers, artists, and texts, where –again– it will teach them to calibrate why one is chosen and not the other, given the current morass of information.

The visits to be made will give the students the most direct opportunity to relive within themselves the fascination for which the protagonists of the evolution of art, architecture and design lived. Visits that necessarily change from course to course, also adapting to the offer of the exhibitions of each moment and of each place where each student passes (naturally voluntary). The most common –apart from the specific buildings listed in the Program– will be visits to exhibitions offered by Barcelona institutions related to course content, which will be notified and discussed. Understanding that the theoretical-practical classes are part of the teaching content of the subject from which to examine.

[1] QUETGLAS, Josep, Pasado a limpio II, p. 153, Editorial Pre-textos – Col.legi d’Arquitectes de Catalunya, Demarcació de Girona, Girona, 1999.

TRAINING ACTIVITY COMPETENCES ECTS CREDITS
Class exhibition 03 04 34-T 35-T 40 48 49 50 51 53 54 55 56 57 63 64 65 66 67 68 69 73 74 77 0,75
Class participation 03 04 34-T 35-T 40 48 49 50 51 53 54 55 56 57 63 64 65 66 67 68 69 73 74 77 0,75
Clase practice 03 04 34-T 35-T 40 48 49 50 51 53 54 55 56 57 63 64 65 66 67 68 69 73 74 77 0,75
Tutorials 03 04 34-T 35-T 40 48 49 50 51 53 54 55 56 57 63 64 65 66 67 68 69 73 74 77 0,75
Individual or group study 03 04 34-T 35-T 40 48 49 50 51 53 54 55 56 57 63 64 65 66 67 68 69 73 74 77 3

Evaluation systems and criteria

In person



            Assessment of the subject Architectural composition 1

Continuous evaluation, “every week counts” attendance and participation in class, exercises, and exams. The evaluation criteria will prioritize creativity and critical depth, intelligence, effeciency, capacity for analysis and synthesis, as well as scientificity and professionalism (erudition, precision, diligence, punctuality, presentation, typographical, spelling and syntactic correction). Active participation in class will also be encouraged during the course, which will be especially valued. And, of course, the attendance and interest of the students will be taken into account.

Percentages… As seen in the program and planned work plan (agenda), this course consists of 15 weeks. Each of the two exams to be carried out will correspond to 35% of the final grade for the subject. Likewise, in coherence with being a continuous evaluation, the second-call exams in June will also count 35% each, to add to 30% of what was achieved throughout the course, with punctual attendance to class, corroborated by the delivery at the end of the course of the notes of each class, taken by hand and dated (10%), and with the two exercises to be carried out (20%, namely: 10% for the presentation of the monographic work and 10% for the layout of the main plan of a paradigmatic building in the patio of the UIC). It should be specified that each of the two partial exams must be passed to make an average. If any of them are suspended, they must be recovered in the second call exam. 70% of the exams, to be added to 30% of what was achieved throughout the course (punctual attendance to class, notes for each class and the two exercises).

The exams will be the way to control the level acquired, thanks to the reading of bibliography, guided by the classes and possible personal tutorials. And they will be evaluated according to the evaluation criteria previously exposed. The exams will allow in their preparation –throughout the respective previous weeks– to work especially on information management and self-learning. On the other hand, for the correct answer to the questions of the exams, as it will be evaluated, due to the limited time, it will be advised of the need to have exercised before, during its preparation, in the analysis, synthesis and criticism.

The two exams, which must necessarily be passed separately to make an average, will be multiple choice (50% of the exam grade). And a second part will consist of three questions, to be solved with a time limitation of ten minutes each (50% of the exam grade). It will deal with what was discussed in class and what was warned about reading the bibliography. With the understanding that the subject given in class reaches a maximum of 50% of what is expected to be answered, freely expanded in the rest of the 50% of subject with the recommended bibliography, which due to time constraints will not have been taught in class to each topic of each day. Obviously, this means that if the exams answered exactly what was said in class about each question, only a 5 could be reached.

The delivery of the daily notes on the last day of the subject and the two exercises guarantees the presence (face-to-face monitoring) of the subject. And since this face-to-face follow-up of the subject is mandatory, because it appears in the academic curriculum of each one, the subject cannot be understood as passed if there are faults in the face-to-face follow-up of more than 25%.

Bibliography and resources

            Bibliography of the subject Architectural composition 1

 

“The course book”

BENEVOLO, L., Historia de la arquitectura moderna, Gustavo Gili, Barcelona, 2002 (1960)

 

“The four books of the subject” (minimum bibliography)

FRAMPTON, K., Historia crítica de la arquitectura moderna, Gustavo Gili, Barcelona, 2002 (1980)

PEVSNER, N., Los orígenes de la arquitectura moderna y del diseño, Gustavo Gili, Barcelona, 1976

SCHMUTZLER, R., El Modernismo, Alianza, Madrid, 1980

STERNER, G., Modernismos, Labor, Barcelona, 1982 (1977)

 

Subject dossiers (on the UIC website, in the UIC photocopy shop and in the UIC library)

ESTÉVEZ, A. T., Antoni Gaudí: síntesis de una arquitecturaUIC photocopy shop, Barcelona, 2000 (1994)

ESTÉVEZ, A. T., Adolf Loos, UIC photocopy shop, Barcelona, 2000 (1992)

ESTÉVEZ, A. T., Arquitectura y Diseño de la Protomodernidad, UIC photocopy shop, Barcelona, 2000 (1996)

ESTÉVEZ, A. T., Arquitectura y Diseño de la Modernidad, UIC photocopy shop, Barcelona, 2000 (1998)

 

General bibliography

BANHAM, R., Teoría y diseño en la primera era de la máquina, Paidós, Barcelona / Buenos Aires / Mexico, 1985 (1960)

BOUILLON, J. P., Diario del Art Nouveau: 1870-1914, Destino, Barcelona, 1990

CAMPI, I., Historia del diseño industrial, colección Massana, Edicions 62, Barcelona, 1987

CHUECA GOITIA, F., Historia de la arquitectura occidental, vols. XI y XII, Dossat, Madrid, 1989-90

COLQUHOUN, A., La arquitectura moderna: una historia desapasionada, Gustavo Gili, Barcelona, 2005 (2002)

CURTIS, W. J. R., La arquitectura moderna desde 1900, Phaidon, London / New York, 2006 (1982)

DE FUSCO, R., Historia de la arquitectura contemporánea, Blume, Madrid, 1981

DORMER, P., Diseñadores del siglo XX: las figuras clave del diseño y las artes aplicadas, CEAC, Barcelona, 1993

FANELLI, G., El diseño art nouveau, Gustavo Gili, Barcelona, 1982

HESKETT, J., Breve historia del diseño industrial, Serbal, Barcelona, 1985

HITCHCOCK, H. R., Arquitectura: siglos XIX y XX, Cátedra, Madrid, 1981

SATUÉ, E., El diseño gráfico, desde los orígenes hasta nuestros días, Alianza, Madrid, 1988

SEMBACH, K. J., Modernismo, Taschen, Cologne, 1991

TAFURI, M., DAL CO, F., Arquitectura contemporánea, Aguilar, Madrid, 1980

TAFURI, M., Teorías e historia de la arquitectura, Celeste, Madrid, 1997 (1968)

TAMBINI, M., El diseño del siglo XX, Ediciones B, Barcelona, 1997

TSCHUDI MADSEN, S., Art Nouveau, Guadarrama, Madrid, 1967

ZEVI, B., Historia de la arquitectura moderna 1 y 2, Poseidón, Barcelona, 1980 (1975)

 

Specific bibliography for each topic

AA.VV., Les altres Pedreres. Arquitectura i disseny al món a principis del segle XX, Fundació Caixa Catalunya, Barcelona, 2012

AA.VV., Colección Estudio Paperback y Colección Obras y Proyectos (monografías de arquitectos del siglo XX), Gustavo Gili, Barcelona

AA.VV., Constructivismo, antología de textos, Alberto Corazón, Madrid, 1972

ACHENBACH, S., Erich Mendelsohn 1887-1953: Ideen, Bauten, Projekte, Staatliche Museen Preussischer Kulturbesitz, Berlin, 1987

BASSEGODA, J., El Gran Gaudí, Ausa, Sabadell, 1989

BLASER, W., Mies van der Rohe, Gustavo Gili, Barcelona, 1980 

DROSTE, M., Bauhaus, Taschen, Cologne, 2002

ESTÉVEZ, A. T., Al margen: escritos de arquitectura, Abada, Madrid, 2009 (chapters “De Gaudí a Calatrava” and “Le Corbusier, La Ciudad Radiante)”

ESTÉVEZ, A. T., Gaudí, Susaeta, Madrid, 2005 (2002)

ESTÉVEZ, A. T., Arquitectura de Gaudí, Tikal ediciones, Madrid, 2011 (2010)

ESTÉVEZ, A. T., Enciclopedia ilustrada: Gaudí, Susaeta, Madrid, 2010

LE CORBUSIER, Hacia una arquitectura, Apóstrofe, Barcelona, 1998 (1930)

LE CORBUSIER, El espíritu nuevo en arquitectura - En defensa de la arquitectura, Colegio Oficial de Aparejadores y Arquitectos Técnicos de la Región de Murcia, Murcia, 2003 (1925 and 1929)

LE CORBUSIER, Oeuvre Complète, Girsberger, Zurich, 1964

PFEIFFER, B. B., Frank Lloyd Wright, Barnes & Noble, New York, 1994

 

Additional general and / or specific bibliography of interest

AA.VV., Diccionario de arquitectos: de la antigüedad a nuestros días, Estudio Paperback collection, Gustavo Gili, Barcelona, 1981

AA.VV., Colección de reediciones de escritos históricos de artistas y arquitectos del s. XX, Colegio Oficial de Aparejadores y Arquitectos Técnicos de la Región de Murcia, Murcia

AA.VV., Biblioteca de Arquitectura (colección de reediciones de escritos históricos de arquitectos del s. XX), El Croquis Editorial, Madrid

BAYLEY, S. (director), Guía Conran del diseño, Alianza, Madrid, 1992

CONRADS, U., Programas y manifiestos de la arquitectura del siglo XX, Lumen, Barcelona, 1973

FIZ, M. (editor), La arquitectura del siglo XX: textos, Alberto Corazón, Madrid, 1974

HATJE, G. (director),  Diccionario ilustrado de la arquitectura contemporánea, Gustavo Gili, Barcelona, 1980 (1979)

HEREU, P., MONTANER, J. M., OLIVERAS, J., Textos de arquitectura de la modernidad, Nerea, Hondarribia, 1999 (1994)

LAMPUGNANI, V. M. (editor), Enciclopedia de la arquitectura del siglo XX, Gustavo Gili, Barcelona, 1989

LAMPUGNANI, V. M. (editor), Dibujos y textos de la arquitectura del siglo XX: utopía y realidad, Gustavo Gili, Barcelona, 1983

PEVSNER, N., FLEMING, J., HONOUR, H., Diccionario de arquitectura, Alianza, Madrid, 1980

SHARP, D. (director), Diccionario ilustrado de arquitectos y arquitectura, CEAC, Barcelona, 1993

 

Biblioteca especial de sostenibilidad

- Derek J. Clements-Croome, Designing Buildings for People: Sustainable liveable architecture, The Crowood Press Ltd, Ramsbury-Marlborough, Wiltshire (Gran Bretaña), 2020

- Jacqueline A. Stagner, David S-K. Ting (eds.), Green Energy and Infrastructure: Securing a Sustainable Future, CRC Press / Taylor & Francis Group, Boca Raton (EE.UU.), 2020

- Jacqueline A. Stagner, David S-K. Ting (eds.), Sustaining Resources for Tomorrow, Springer Nature Switzerland AG, Cham (Suiza), 2020

- Ahmad Vasel-Be-Hagh, David S-K. Ting (eds.), Environmental Management of Air, Water, Agriculture, and Energy, CRC Press / Taylor & Francis Group, Boca Ratón (EE.UU.), 2020

- Jacqueline A. Stagner & David S-K. Ting (eds.), Engineering for Sustainable Development and Living, Brown Walker Press / Universal Publishers, Inc., Irvine (EE.UU.), 2021

- David S-K. Ting & Jacqueline A. Stagner (eds.), Sustainable Engineering Technologies and Architectures, AIP Publishing, scitation.org/books, Melville (EE.UU.), 2021

- David S-K. Ting & Jacqueline A. Stagner (eds.), Climate Change Science - Causes, Effects and Solutions for Global Warming, Elsevier, Ámsterdam (Países Bajos) / Oxford (Gran Bretaña) / Cambridge, MA (EE.UU.), 2021

- Jacqueline A. Stagner & David S-K. Ting (eds.), Sustainable Engineering for Life Tomorrow, Lexington Books / The Rowman & Littlefield Publishing Group, Londres (Gran Bretaña), 2021

- Jacqueline A. Stagner & David S-K. Ting (eds.), Renewable Energy for Mitigating Climate Change, CRC Press / Taylor & Francis Group, Boca Raton (EE.UU.), 2022

- Jacqueline A. Stagner & David S-K. Ting (eds.), Climate Change and Pragmatic Engineering Mitigation, Jenny Stanford Publishing, Nueva York (EE.UU.), 2022

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