Universitat Internacional de Catalunya
Architectural Composition III
Other languages of instruction: English
Teaching staff
Attention of the subject, Architectural composition 3
Attention to students is given at all times when it is required, throughout the planned class schedule, both theoretical and practical. On the other hand, a specific schedule of personalized, individual attention is also established, which is set every Wednesday between 12:00 and 13:00. Without detriment to the choice of another time that can be arranged by appointment.
Appointment, professors:
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
There are no specific pre-course requirements.
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.
Competences/Learning outcomes of the degree programme
- 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 of the subject
See next section.
Syllabus
Architectural composition 3 - Prof.DDr.Alberto T. Estévez + Prof.Dr.Yomna K. Abdallah + Prof.Dr.Angad Warang
Architectural project strategies from the theory and history of art, architecture and design, from 1851 to the present
Program and planned work plan (agenda) 6 ECTS (x 25-30 h. = 150-180 h. dedication in 15 weeks., 10-12 h./week)
WEEK 1 Wednesday, September 14, 2022 (1851-1939), 08:00-12:00 h.
- 08:00 h. Theorical class. Introduction (inaugural class: Justification-Objectives-Competences-Contents-Methodology-Bibliography-Evaluation-Attention-Documents).
From each of the classes, the starting points, the basic understandings, the different approaches to architecture, and the concepts of architectural composition contained in them must be well understood: the elements of architecture, their morphology, and how they merge syntactically in projects and works.
- 09:00 h. Theorical class. Topic 0. The break of the classical tradition and emergence of Art Nouveau. Roots of the artistic avant-garde. Romanticism-realism-impressionism-post-impressionism.
- 10:00 h. Theorical class. Topic 1. On symbolism and how architecture can start with the symbolic.
Basic project strategy: the symbolic. Klimt, Von Stuck, Rodin (from Gaudí to Calatrava).
“Suggesting is what you want”, Mallarmé.
- 11:00 h. Calatrava inspired architectural elements (columns from segments by kit bashing digital design technique).
WEEK 2 Wednesday, September 21, 2022 (1851-1939), 08:00-12:00 h.
- 08:00 h. Theorical class. Topic 2. On Fauvism and how architecture can begin with the Fauve, with the “wild” (or intense) color.
Basic project strategy: the "wild" (or intense) color. Derain, Matisse, Van Dongen -Gauguin- (from Gaudí to Barragán).
“With these colors we will set fire to the academy”, Vlaminck.
- 09:00 h. Theorical class. Topic 3. On expressionism and how architecture can begin with the expressive, with the “sharp” gesture (or aggressive, deformed and exaggerated).
Basic project strategy: the “stabbing” gesture (or aggressive, deformed and exaggerated). Heckel, Schmidt-Rottluff, Schiele -Van Gogh- (from Gaudí to Libeskind).
“My painting is a seismograph of my emotions”, Kirchner.
- 10:00 h. Theoretical-practical class (exercises on the topics).
WEEK 3 Wednesday, September 28, 2022 (1851-1939), 08:00-12:00 h.
- 08:00 h. Theoretical-practical class (presentation of monographic works).
- 09:00 h. Theorical class. Topic 4. On cubism and how architecture can start with “battered” (or faceted) geometry.
Basic project strategy: “battered” (or faceted) geometry. Braque, Gris, Picasso -Cezanne- (Chochol).
“Tight and continuous facets that break the object, dismember it in all its parts”, De Micheli.
- 10:00 h. Theorical class. Topic 5. On futurism and how architecture can start with the (aero) dynamic line.
Basic project strategy: the dynamic (aero) line. Balla, Boccioni, Russolo (Mendelsohn).
“Oblique and elliptical lines are dynamic, by their very nature they have a thousand times greater emotional power”, Sant’Eia.
- 11:00 h. Theoretical-practical class (exercises on the topics).
WEEK 4 Wednesday, October 5, 2022 (1851-1939), 08:00-12:00 h.
- 08:00 h. Theoretical-practical class (presentation of monographic works).
- 09:00 h. Theorical class. Topic 6. On constructivism and how architecture can begin with machine expressiveness.
Basic project strategy: Machinist Expressiveness. Eisenstein, Tatlin, Vesnin (Foster-Piano-Rogers).
“A racing car with its hood adorned with thick snake-like tubes of explosive breath …,
a roaring car that seems to run on shrapnel, is more beautiful than the Victory of Samothrace”, Marinetti.
- 10:00 h. Theorical class. Topic 7. On metaphysicism and how architecture can start with the urban “dreamlike” (or estrangement as an active system).
Basic project strategy: the urban “dreamlike” (or estrangement as an active system). Carra, Magritte, Morandi (Rossi).
Architecture “has two aspects: the ordinary aspect, which we almost always see and which ordinary men see, and the
metaphysical aspect, which only a few individuals can see in moments of clairvoyance and metaphysical abstraction”, De Chirico.
- 11:00 h. Theoretical-practical class (exercises on the topics).
WEEK 5 Wednesday, October 12, 2022 (1851-1939)
- NO LECTURES DAY (Holiday).
WEEK 6 Wednesday, October 19, 2022 (1851-1939), 08:00-12:00 h.
- 08:00 h. Theoretical-practical class (presentation of monographic works).
- 09:00 h. Theorical class. Topic 8. On Dadaism and how architecture can start with Dada, with chance (or contradiction as an active system).
Basic project strategy: chance (or contradiction as an active system). Arp, Duchamp, Tzara (Hundertwasser).
“There is nothing more beautiful than the chance encounter between an umbrella and a sewing machine on a dissecting table”, Lautremont.
- 10:00 h. Theorical class. Topic 9. On surrealism and how architecture can start with the surreal, with dream automation (or paranoia as an active system).
Basic project strategy: dream automation (or paranoia as an active system). Dalí, Ernst, Miró (Domenig).
“It will not be the fear of madness that forces us to lower the flag of the imagination”, Breton.
- 11:00 h. Theoretical-practical class (exercises on the topics).
WEEK 7 Wednesday, October 26, 2022 (1851-1939), 08:00-12:00 h.
- 08:00 h. Theoretical-practical class (presentation of monographic works).
- 08:30 h. Theorical class. Topic 10. Abstraction: On suprematism and how architecture can start with pure geometry under the dynamization process.
Basic project strategy: pure geometry under the dynamization process. Lissitzky, Malevich, Moholy-Nagy (Hadid).
“Kinetic rhythms as basic forms of our perception”, Gabo – Pevsner.
- 09:00 h. Theorical class. Topic 11. Abstraction: On neoplasticism and how architecture can start with pure geometry under the process of juxtaposition of planes.
Basic project strategy: pure geometry under the process of juxtaposition of abstract planes. Mondrian, Van der Leck, Vantongerloo (Rietveld).
“The neoplastic form (…) balanced relationship of position and proportion of planes and colors”, Van Doesburg.
- 10:00 h. Theorical class. Unit 12. Abstraction: On purism and how architecture can start with pure geometry under the reduction process.
Basic project strategy: pure geometry under the reduction process. Ozenfant, Leger, Jeanneret (aka Le Corbusier).
“Treat nature like cylinders, spheres and cones”, Cézanne.
- 11:00 h. Theoretical-practical class (exercises on the topics).
WEEK 8 Wednesday, November 2, 2022 (1945-2022), 08:00-12:00 h.
- 08:00 h. Exam of the 1st part (35% of the final grade for the course): must be passed to make an average and pass the course.
- 09:00 h. Theorical class. Topic 1. On informal art (& architecture) and how architecture can begin with the formless and / or material.
Basic project strategy: the formless (or material). Burri, Pollock, Tàpies (Le Corbusier).
“Whoever believes that these pastes are inert is totally wrong. Report does not mean inert”, Dubuffet.
- 10:00 h. Theorical class. Topic 2. On kinetic art (& architecture) and how architecture can begin with the kinetic (real movement).
Basic project strategy: the kinetic (real movement). Calder, Tinguely, Vasarely (Calatrava).
“Why should art (architecture) be static? The next step in sculpture (in architecture) is movement”, Calder.
- 11:00 h. Theoretical-practical class about kinetic in Artificial Intelligence.
WEEK 9 Wednesday, November 9, 2022 (1945-2022), 08:00-12:00 h.
- 08:00 h. Theoretical-practical class (exercises on informal art (& architecture) and how architecture can begin with the formless and / or material).
WEEK 10 Wednesday, November 16, 2022 (1945-2022), 08:00-12:00 h.
- 08:00 h. Theoretical-practical class (presentation of monographic works).
- 09:00 h. Theorical class. Topic 3. On minimal art (& architecture) and how architecture can start with the minimum (neutral, not apparent and / or unnoticed).
Basic project strategy: the minimum (neutral, not apparent and / or unnoticed). Judd, Morris, Sol Le Witt (Mies).
“You only see what there is (...) what you see is what you see”, Stella.
- 10:00 h. Theorical class. Topic 4. About pop art (& architecture) and how architecture can start with pop.
Basic project strategy: pop. Liechtenstein, Oldenburg, Wesselmann (Venturi).
“The art of business is the next step after art”, Warhol.
- 11:00 h. Theoretical-practical class (exercises on the topics).
WEEK 11 Wednesday, November 23, 2022 (1945-2022), 08:00-12:00 h.
- 08:00 h. Theoretical-practical class (presentation of monographic works).
- 09:00 h. Theorical class. Topic 5. On conceptual art (& architecture) and how architecture can start with the conceptual (non-material idea).
Basic project strategy: the conceptual (non-material idea). Brus, Klein, Manzoni (Hollein).
“Art as an idea”, Kosuth.
- 10:00 h. Theorical class. Topic 6. On action art (& architecture) and how architecture can begin with urban action.
Basic project strategy: urban action. “Making energy and movement visible”: Pollock, Fluxus, Gutai (Coop Himmelblau).
“I not only want to stimulate people, I want to provoke them”, Beuys.
- 11:00 h. Theorical class. Topic 7. About land art (& architecture) and how architecture can begin with the territory.
Basic project strategy: the territory. Christo, Oppenheim, Walter de Maria (Ambasz).
“The earth, for me, is not nature, but a museum”, Smithson.
WEEK 12 Wednesday, November 30, 2022 (1945-2022), 08:00-12:00 h.
- 08:00 h. Theoretical-practical class (presentation of monographic works).
- 09:00 h. Theorical class. Topic 8. On hyperrealism and how architecture can begin with the realist (constructivity).
Basic project strategy: the realistic (constructiveness). From Andrea, Estes, Hanson (Kahn).
“Architecture begins from the moment two bricks are carefully placed next to each other”, Mies van der Rohe.
- 10:00 h. Theorical class. Topic 9. On postmodern art (& architecture) and how architecture can start even with the postmodern, the historicist collage.
Basic project strategy: the postmodern, the historicist collage. Oliva, Chia, Clemente (Moore).
“Write poetry with your hands full of colors”, Nicola de Maria.
- 11:00 h. Theoretical-practical class (exercises on the topics).
WEEK 13 Wednesday, December 7, 2022 (1945-2022), 08:00-12:00 h.
- 08:00 h. Theoretical-practical class: developing architectural facades with bioplastics preparation in Delta 204, Biodigital Lab (UIC Campus Terré).
WEEK 14 Wednesday, December 14, 2022 (1945-2022), 08:00-12:00 h.
- 08:00 h. Theoretical-practical class (presentation of monographic works).
- 09:00h. Theorical class. Topic 10. On computer art (& architecture) and the new cybernetic-digital projecting and how architecture can start with digital (next-generation software).
Basic project strategy: digital (advanced software). Cache, Dollens, Oosterhuis (Chu / Estévez).
“It is about understanding the same software as the new architectural material with which to work”, Estévez.
- 10:00 h. Theorical class. Topic 11. On live art (& architecture) and the new ecological-environmental projecting and how architecture can start with the living (natural living elements).
Basic project strategy: living things (natural living elements). Ackroyd & Harvey, Kounellis, Thompson (Baubotanik / Estévez).
“Not like the one who creates ‘in’ nature to be conserved, but the one who creates ‘with’ nature, the one who creates nature”, Estévez.
- 11:00 h. Theorical class. Topic 12. On genetic art (& architecture) and a possible genetic architecture and how architecture can start with genetics (genetic research).
Basic project strategy: genetics (genetic research). Kac, Rooke, Wight (Estévez).
“A creative process similar to that of any art, only changing oil, bronze and stone for DNA chains”, Estévez.
WEEK 15 Wednesday, December 21, 2022 (1945-2021), 08:00 h.
- 08:00 h. Delivery of class notes, hand-written and dated.
- 08:00 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 Wednesday, January 11, 2023, 15:00 h. (2nd call, Wednesday, June 14, 12:00 h. / Review by appointment: Tuesday, July 4, 2023, 14:00 h.)
- 15:00 h. Final exams 1st call. (Review by appointment: Thursday, January 26, 2023, 13:30 h.).
Teaching and learning activities
In person
Methodology of the subject, Architectural composition 3
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 books of the subject”, “highly recommended books outside the program”, and others, general or specific according to topics. For some of these readings, the hours after the theoretical classes could be reserved by the students, always on the corresponding theoretical topic given just the same day in class, at which time it is convenient that each one individually writes an extension by hand of the aforementioned topic supported by the bibliography, in preparation for the exams.
The exercises will make it possible to specify objectives, apply theory, stimulate teaching-learning, accelerate the acquisition of skills, knowledge and abilities, etc. Specifically, the exercises will be those that take their title of the same name from this area and from this subject, exercises of “architectural composition”, which deal with, paraphrasing Malevich, the tearing of the canvas of limitations, in the light of exercises of architectural projects. They try to elude the “stage fright” before the blank page, through a quick and brief application of the different project-strategies that appear in the content program, from the theory and history of art, architecture and design. With such exercises, it is actually advanced –at the level of previous studies– what could later be followed in any of the Projects subjects.
The lessons (theoretical classes) necessarily offer the student only a personal 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 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 chaos of information.
The visits to be made have to do with giving 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 will also follow the most important architecture of our city, necessarily changing from course to course, adapting to the offer of the exhibitions of each moment and of each place where each student passes. The most common will be to directly confront architectural examples, and visit exhibitions related to the program, which will be notified and discussed.
[1] QUETGLAS, J., 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 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 63 64 65 66 67 68 69 73 74 77 | 3 |
Evaluation systems and criteria
In person
Assessment of the subject, Architectural composition 3
Continuous evaluation, “every week counts” attendance and participation in class, exercises, and exams. The evaluation criteria will prioritize creativity and critical depth, intelligence, effectiveness of fascination, capacity for analysis and synthesis, as well as scientific approach 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.
Percentage… 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 assessment, the final and 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%), with the delivery of the face-to-face exercises (10%) and with the individual presentation of an architect assigned at the beginning of the course (10%).
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 examination questions, as it will be evaluated, due to the limited time and the demand for one's own critical opinion, it will be necessary to exercise before, during its preparation, in the analysis, synthesis and criticism.
The two exams, which must necessarily be passed separately to make an average, will consist of multiple-choice questions (50% of the exam grade), and a second part will consist of three questions, to be solved within ten minutes each (50% of the exam grade). The exam will cover 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 everything said in class about each question, only a 5 could be reached.
The face-to-face exercises should be delivered at each day of class, in the same classroom, the exercises that will be notified throughout the weeks. Students should answer in class the topic of the day on a sheet of paper, as an essay for the final exam. They will in turn give an oral presentation of an architect monograph. As well as project exercises, following the previous studies, always related to the contents of each class of each day.
The delivery of daily notes and face-to-face exercises guarantee attendance and face-to-face monitoring of the students. And since this face-to-face follow-up of the subject is mandatory, because it appears in the academic curriculum of each student, it will not be considered that the subject has been passed if there is absence in the face-to-face follow-up of more than 25%.
Bibliography and resources
Bibliography of the subject, Architectural composition 3
“The books of the subject” (bibliography -very- minimal)
AA.VV., Historia Universal del Arte, vol. 9 and vol. asterisk* (10+1 vols.), Planeta, Barcelona, 1992
BENEVOLO, L., Historia de la arquitectura moderna, Gustavo Gili, Barcelona, 1986
CIRLOT, L., Las claves de las primeras vanguardias artísticas, Planeta, Barcelona, 1988
CIRLOT, L., Historia del arte. Últimas tendencias, Planeta, Barcelona, 1997 (1994)
FRAMPTON, K., Historia crítica de la arquitectura moderna, Gustavo Gili, Barcelona, 1981 (1980)
MONTANER, J. M., Después del Movimiento Moderno: arquitectura de la segunda mitad del siglo XX, Gustavo Gili, Barcelona, 1993
Books outside the program -very- recommended (to know minimally “what this architecture is about”)
RASMUSSEN, S. E., Experiencia de la arquitectura, Labor, Barcelona, 1974
VENTURI, R., Complejidad y contradicción en la arquitectura, Gustavo Gili, Barcelona, 1974 (1966)
Subject dossiers (in the photocopy shop and in the UIC library)
ESTÉVEZ, A., Hans Hollein, UIC-Iradier photocopy shop, Barcelona, 2000 (1992)
ESTÉVEZ, A., Arquitectura y Diseño de la Protomodernidad, UIC-Iradier photocopy shop, Barcelona, 2000 (1996)
ESTÉVEZ, A., Arquitectura y Diseño de la Modernidad, UIC-Iradier photocopy shop, Barcelona, 2000 (1998)
General bibliography
BANHAM, R., Teoría y diseño arquitectónico en la era de la máquina, Nueva Visión, Buenos Aires, 1977
CHUECA GOITIA, F., Historia de la arquitectura occidental, vols. XI and XII, Dossat, Madrid, 1989-90
CURTIS, W., La arquitectura moderna desde 1900, Blume, Madrid, 1986
DE FUSCO, R., Historia de la arquitectura contemporánea, Blume, Madrid, 1981
HITCHCOCK, H. R., Arquitectura: siglos XIX y XX, Cátedra, Madrid, 1981
PIÑÓN, H., Arquitectura de las neovanguardias, Gustavo Gili, Barcelona, 1984
PERELLÓ, A. M., Las claves de la arquitectura, Ariel, Barcelona, 1987
PEVSNER, N., Los orígenes de la arquitectura moderna y del diseño, Gustavo Gili, Barcelona, 1976
TAFURI, M., DAL CO, F., Arquitectura contemporánea, Aguilar, Madrid, 1980
TAFURI, M., Teorías e historia de la arquitectura, Celeste, Madrid, 1997 (1968)
THOMAS, K., Hasta hoy. Estilos de las artes plásticas en el siglo XX, Editoral del Serbal. Barcelona, 1988
WALKER, J. A., Art since Pop, Thames and Hudson, London, 1975
ZEVI, B., Historia de la arquitectura moderna 1 y 2, Poseidón, Barcelona, 1980 (1975)
Specific bibliography for each topic
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
ADES, D., El dadá y el surrealismo, Labor, Barcelona, 1975
BASSEGODA, J., El Gran Gaudí, Ausa, Sabadell, 1989
BERNÁRDEZ, C., Joseph Beuys, Nerea, Madrid, 1999
CIRLOT, J. E., La pintura surrealista, Seix Barral, Barcelona, 1954
CIRLOT, L., Las claves del dadaísmo, Planeta, Barcelona, 1991
COEN, E., Futurismo, catalogue of the exhibition, Museo Picasso, Barcelona, 1996
COOP HIMMELB[L]AU, Himmelblau no es ningún color, Arquitectura ConTextos collection, Gustavo Gili, Barcelona, 2010 (Translation: Alberto T. Estévez)
DE MICHELI, M., Las vanguardias artísticas del siglo XX, Alianza, Madrid, 1999 (1966)
DENVIR, B., El fauvismo y el expresionismo, Labor, Barcelona, 1975
DOLLENS, D., De lo digital a lo analógico, Gustavo Gili, Barcelona, 2002 (2001)
DRUFUS, C., Happenings & Fluxus, Galerie 1900-2000, Paris, 1989
ELDERFIELD, J., El fauvismo, Alianza, Madrid, 1983
ESTÉVEZ, A., Hans Hollein: compilación de una escena, Cercle d’Art, Barcelona, 1990
ESTÉVEZ, A., Calatrava, Susaeta, Madrid, 2005 (2001)
ESTÉVEZ, A., Gaudí, Susaeta, Madrid, 2005 (2002)
ESTÉVEZ, A., Enciclopedia Ilustrada: Gaudí, Susaeta, Madrid, 2010
ESTÉVEZ, A., Arquitectura de Gaudí, Tikal ediciones, Madrid, 2011 (2010)
ESTÉVEZ,A., Genetic Architectures / Arquitecturas genéticas, chap. “Arquitecturas genéticas”, pp. 4-17, SITES Books / ESARQ-UIC, Santa Fe / Barcelona, 2003
ESTÉVEZ,A., Genetic Architectures II/Arquitecturas genéticas II, chap.“Arquitectura biomórfica”, pp.18-53, SITES Books / ESARQ-UIC, Santa Fe / Barcelona, 2005
ESTÉVEZ,A., Genetic Architectures III/Arquitecturas genéticas III, chap.“Nuevas técnicas biodig.”, pp.14-21, SITES Books/ESARQ-UIC, Santa Fe / Barcelona, 2009
ESTÉVEZ, A., Biodigital Architecture & Genetics: writings / escritos, ESARQ-UIC, Barcelona, 2015
GOLBERG, R. L., Performance Art, Thames and Hudson, Londres, 1988
GOLDING, J., El cubismo: una historia y un análisis, Alianza, Madrid, 1993 (1959)
JENCKS, CH., El lenguaje de la arquitectura postmoderna, Gustavo Gili, Barcelona, 1986 (1977)
LUCIE-SMITH, E., El arte hoy. Del expresionismo abstracto al nuevo realismo. Cátedra, Madrid, 1983
MARCHÁN FIZ, S., Del arte objetual al arte de concepto. Epilogo sobre la sensibilidad potmoderna, Akal, Madrid, 1994
MARK, W. – JOHNSON, P., Arquitectura Deconstructivista, Deconstructivist Architecture, Gustavo Gili, Barcelona, 1988
MONTANER, J. M., - SAVI, V., Less is more. Minimalismo en arquitectura y otras artes, COAC / Actar, Barcelona, 1996
SANDLER, I., El triunfo de la pintura norteamericana. Historia del expresionismo abstracto, Madrid, Alianza, 1996
SELZ, P., La pintura expresionista alemana, Alianza, Madrid, 1989 (1957)
SOLANS, P., Accionismo vienés, Nerea, Madrid, 2000.
Additional general and / or specific bibliography of interest
AA.VV., Colección Estudio Paperback and Colección Obras y Proyectos (monografías de arquitectos del s. XX), Gustavo Gili, Barcelona
AA.VV., Colección de reediciones de escritos históricos de artistas y arquitectos del s. XX, Colegio de Aparejadores y Arquitectos Técnicos de Murcia, Murcia
AA.VV., Biblioteca de Arquitectura (colección de reediciones de escritos históricos de arquitectos del s. XX), El Croquis Editorial, Madrid
AA.VV., Escritos de arte de vanguardia 1900-1945, Turner, Madrid, 1979
AA.VV., Diccionario de arquitectos: de la antigüedad a nuestros días, colección Estudio Paperback, Gustavo Gili, Barcelona, 1981
CHILVERS, I., Diccionario de arte, Alianza, Barcelona, 1995
CIRLOT, L. (ed.), Primeras vanguardias artísticas. Textos y documentos, Labor, Barcelona, 1993
CONRADS, U., Programas y manifiestos de la arquitectura del siglo XX, Lumen, Barcelona, 1973
ESTÉVEZ, A., Al margen: escritos de arquitectura, Abada, Madrid, 2009
ESTÉVEZ, A., “Still alive”, landscapes and other fleshinesses / “Naturalezas vivas”, paisajes y otras carnosidades, ESARQ-UIC, Barcelona, 2010
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)
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
LOOS, A., Escritos I y II, Biblioteca de Arquitectura collection, El Croquis Editorial, Madrid, 1993 (Translation: Alberto T. Estévez and Josep Quetglas)
PEVSNER, N., FLEMING, J., HONOUR, H., Diccionario de arquitectura, Alianza, Madrid, 1980
ZEVI, B., Saber ver la arquitectura, Poseidón, Buenos Aires, 1963
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
Teaching and learning material
- A. Program of Composition 3 Spanish - 2022-23
- A. Program of Composition 3 English - 2022-23
- B. Selection of the Historia de la Arquitectura, Benevolo.
- C. Architecture and Design of the Protomodernism
- D. Architecture and Design of the Modernism
- E. Gaudí, Alberto T. Estévez
- F. Adolf Loos, Alberto T. Estévez
- G. Hans Hollein, Alberto T. Estévez.
- x Article 1 Digital Arq
- x Article 2 English Live/Genetic Arq
- x Article 2 Español Live/Genetic Arq
- x Article 3 Live/Genetic Arq
- x Tema 0 Organicism To (Bio)Digital / Regionalism
- x Tema 10 suprematist art&arq
- x Tema 11 neoplasticist art&arq
- x Tema 12 purist art&arq
- x Tema 13 informal art&arq
- x Tema 14 cinetic art&arq
- x Tema 15 minimal art&arq
- x Tema 16 pop art&arq
- x Tema 17 conceptual art&arq
- x Tema 18 action art&arq
- x Tema 19 land art&arq
- x Tema 1 postimpr 1 simbolist art&arq
- x Tema 1 xGaudí Geometry 1 simbolist art&arq
- x Tema 1 xGaudí Sgda Fam 1 simbolist art&arq
- x Tema 1 y 7 xLo Inquietante: simbolist/metafisicist art&arq
- x Tema 20 hiperrealist art&arq
- x Tema 21 postmod art&arq
- x Tema 22 digital (computer) art&arq
- x Tema 23 live art&arq
- x Tema 24 genetic art&arq
- x Tema 2 fauvist art&arq
- x Tema 3 expressionist art&arq
- x Tema 4 cubist art&arq
- x Tema 5 futurist art&arq
- x Tema 6 constructivist art&arq
- x Tema 7 metafisicist art&arq
- x Tema 8 Arte Dadaísmo
- x Tema 8 dadaist art&arq
- x Tema 9 Arte Surrealismo
- x Tema 9 Arte Surrealismo Dalí
- x Tema 9 Arte Surrealismo Miró
- x Tema 9 surrealist art&arq