Universitat Internacional de Catalunya
Spatial and Formal Analisys
Teaching staff
If needed, for special circumstances or situations that require extra dedication or care, the teaching staff of the course will be available to students through their institutional e-mail. If the student's situation requires a face-to-face meeting, this will be arranged by prior appointment via e-mail.
Prof. Ran Shabtay- ranshabtay@uic.es
Prof. Pilar Moran García - mdpmoran@uic.es
Prof. Manuel Arenas- marenas@uic.es
Introduction
COMPULSORY COURSE.
Architecture Degree. 1st Year Course.
First Semester.
9 ECTS (credits).
Module: Propaedeutic Module.
Area of knowledge: Graphic Expression.
Main teaching language: English.
Other teaching languages: Catalan, Spanish.
Modality:FULLY IN-PERSON TEACHING.
PROFESSOR IN CHARGE:Lc. Manuel ARENAS- marenas@uic.es
PROFESSORS: Ran Shabtay- ranshabtay@uic.es; Dra. Pilar Moran García - mdpmoran@uic.es.
The Spatial and Formal Analysis Course is the first and intense contact between students and the game of architecture. Through the creation of three-dimensional models, students will become familiar with geometry, rhythm, proportion, and materials, generating small proto-architectures based on three operational principles: construction from the segmentation of planes, construction from vectors or lines of force, and construction from volume. Every two weeks, each student will generate a model, following the operating principles described with clear instructions on size and material.
The course seeks to bring out three basic attitudes towards architecture:
- Externalise:To be able to look into one’s ideas and to be able to externalize them by contrasting them with found information, plans, photos, texts, etc. The architect must be an information sponge, a data hoarder.
- Experiment: the play of form, geometry, and rhythm. Construct and deconstruct.
- Exhibit: to show the work carried out, to expose it, to justify it to open it up to the critical process of teachers and students. To take sides and defend a proposal. To make it intelligible to others.
Pre-course requirements
Basic knowledge of mathematics, geometry and technical and artistic drawing.
Objectives
The aim of the course is to train students in the construction of three-dimensional models, for us proto-architectures, both from a theoretical point of view (rules, rhythms, geometry, repetition, symmetry) and from a practical constructive point of view. More specifically, the aim is:
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That students are able to create proto-architectures from the primary elements of space and express their ideas both materially, graphically and verbally.
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That the student experiments with form and acquires an awareness of its relationship with the materiality and constructive processes of space.
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That the student makes a first contact with the methodology of design.
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That students develop a critical spirit concerning their own work and that of their classmates.
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That the student acquires habits of intense, neat, rational work with attention to detail.
Competences/Learning outcomes of the degree programme
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10 - Adequate knowledge and application to architecture and town planning of the basics of topography, hypsometry cartography and terrain modification techniques.
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1-T - Ability to apply graphic procedures to the representation of spaces and objects.
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2-T - Ability to conceive and represent the visual attributes of objects and to master proportion and drawing techniques, including computer techniques.
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03 - Adequate knowledge and application to architecture and town planning of the systems of spatial representation.
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04 - Adequate knowledge and application to architecture and urban planning of the analysis and theory of form and the laws of visual perception.
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05 - Adequate knowledge and application to architecture and town planning of metric and projective geometry.
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06 - Adequate knowledge and application to architecture and town planning of graphic survey techniques in all their phases, from sketch drawing to scientific restitution.
Learning outcomes of the subject
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The student will finish the course having become familiar with the construction of intelligent forms.
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They will understand the importance of geometry and rhythm and the need to chain decisions within pre-established logic.
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The process of constructing the models will be reinforced by the graphic recording through drawing of the incidences, ideas and development of all the models made during the course. In this way, the student will learn to define and draw intentions and achieve rational work processes.
Syllabus
The course is entirely practical in nature, so the contents and knowledge are acquired gradually as it develops, both through practice and through reviews with the teacher. Small theoretical sessions are also included before the execution of the models, which aim to introduce the student to the fundamental questions that lie behind the execution of these exercises.
Weeks 1 and 2- Group assignment (Recycling): students are asked to design an element in groups based on the models from the previous course. With this assignment , they have a first contact with the type of work they will be asked to do in the following.
Throughout the course, students are confronted with the production of space from three of its primary elements: the straight line (or vector, if it has direction and magnitude), the plane, and the volume, so the models produced play with these concepts. In each case, the class reflects on the geometric properties of these elements, but also on their operational functions in space, as delimiting and structural elements. In addition, other issues such as materiality and its impact on form, proportions, composition, the interplay of architecture with light, the relationship between space, form and structure, etc., are also addressed.
The course is structured around the creation of 8 models, with the student having between one and two weeks to create and deliver each of them:
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Planes models: first of all, the student is introduced to the concept of ‘plane’, as a flat surface whose delimitation, transformation and combination leads to the production of spaces. For the student to experiment with this reality, three models are proposed:
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Weeks 2 and 3: Planes: white foam board model.
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Weeks 3 and 4: Planes: black foam board model.
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Weeks 5 and 6: Planes: black foam board and white foam board model.
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Vector models: the student is then introduced to the concept of vectors (as linear elements that express strength and dynamism), elements whose dimensioning, transformation and combination is capable of delimiting and structuring spaces. We reflect on the geometric properties of this element, its unidirectionality and its impact on the resulting form. To this end, 3 models are proposed:
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Weeks 7 and 8: Vectors: wood model (The main material are wooden sticks of squared section of 4x4 mm).
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Weeks 9 and 10: Vectors: metal wire model.
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Week 11: Vectors: wood and metal wire model.
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Volume models: finally, the student is confronted with the concept of volume, a three-dimensional element, itself a container of space. They reflect on the geometric properties of volume (depth, length and width) and on the concepts of mass and void. The student is trained in the operations of emptying, subtraction or aggregation of volumes as a compositional strategy of space. Two volume models will be made with plaster, resins or similar materials.
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Weeks 12,13 and 14: Volume models: Plaster model I and II ( or similar material): These models have a special interest because the student must not only design an interesting proto-architecture but must also be able to conceive its negative to make a mould for the pouring of the plaster.
* In week 14, it is on the choice of the professors, depending on the development of the course, to substitute one of the plaster models with a “summary model”. This model could combine two or more of the materials introduced in the course, or introduce a new one.
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Week 15:
Final jury, portfolio delivery and re-delivery. At the end of the course, a ‘Jury’ or final evaluation is held with an external guest, in which all the students’ exercises are evaluated as a group. This week, students are also allowed to remake and submit those models they have failed during the course, in order to be evaluated again.
Portfolio: in the last week, the student must hand in a PDF document summarising the work done during the course. This must include photographs of all the models made, as well as sketches, references and explanatory texts, if considered necessary (although the latter should be as few as possible). This is a first approach to the task of presenting one's own work graphically.
Teaching and learning activities
In person
The course takes place over 15 weeks in two 3-hour sessions per week, during which models of different materials and construction logics (explained above) are made. The models have a series of pre-established conditions that are common to all of them: size, no base, no gravity, no scale: they must be observable and can be held from any angle and could represent either a micro-architecture or a building.
The course will have a workshop format, i.e. the proposed exercises will be carried out almost entirely in the classroom, although the student will have to complete the work at home.
Small theoretical packages will be included in the classes to support the proposed exercises.
The models will be revised while in their design process and after their submission in class and a big Final Jury with an external guest, architect, sculptor, art critic, etc, will take place on the last day of the course.
Finally, the students will hand in a portfolio in PDF format, showing the result of their work, and are invited to reflect on what they have learned during the course.
|
LEARNING ACTIVITY |
COMPETENCIES |
ECTS CREDITS |
|
Lectures |
03 04 05 06 10 1-T 2-T |
1 |
|
Participatory class |
03 04 05 06 10 1-T 2-T |
1,5 |
|
Practical classes |
03 04 05 06 10 1-T 2-T |
1 |
|
Individual mentoring of the student |
03 04 05 06 10 1-T 2-T |
1 |
|
Individual or group work |
03 04 05 06 10 1-T 2-T |
4,5 |
Evaluation systems and criteria
In person
As this is an eminently practical subject, the assessment will be continuous, constant, and progressive. It is assumed that the student's learning curve will be ascending, so the exercises will increase in quality, precision, and presentation as the course progresses. The final mark will be an average of the individual marks for each exercise, considering the above conditions.
To pass the course, it will be necessary to present and pass all the proposed exercises and the portfolio; and to attend and participate in class.
However, each exercise will be marked independently, including the portfolio, so that each student knows, at each moment of the course, how he/she relates to the subject. The mark will assess both the idea and the execution of the models, external references, as well as attendance and participation in class.
The subject will not have a final exam, although students with failed exercises may improve them and hand them in at the end of the course.The repetition of the exercises does not guarantee that the course has been passed,they will be re-evaluated and, if any of them fail or are not handed in, they will have to do the second call.
In the event of failing, the student will be able to attend the "second call" in June. In order to pass, the student will be asked to repeat (at least) their failed models. The specific number of models to be repeated will be agreed upon with the teachers during the revision.
In summary, the final mark for the course will be as follows:
- MODELS: 80%. Having a failed model after the second delivery in December will be a sufficient condition for failing the course
- PORTFOLIO: 10%.
- ATTENDANCE AND ATTITUDE: 10%.
EVALUATION CRITERIA:
Each exercise must meet certain minimum quality requirements, specified in the following parameters:
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correspondence between what is real and what is represented.
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resolution of textures and materials.
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good execution.
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cleanliness and conceptual clarity.
Bibliography and resources
The material used in the theoretical classes by the teachers will be posted on the Intranet for consultation and learning of the subject. The instructions (necessary material, etc.) for making the models are also provided on the Intranet.
In addition to the material taught in class, the following bibliography is offered to the student:
- Manual del dibujo arquitectónico. F. Ching. Ed. Gustavo Gili.
- De lo espiritual en el arte. Kandinsky. Ed. Labor.
- La Arquitectura. Hegel. Ed. Kairos.
- La ciudad como obra de arte. J.M. Miguel Muñoz Jimenez. Ed. Clásicas Madrid.
- Diccionario de las artes. Felix de Azua. Ed. Planeta.
- El paisatge és rodó. Perejaume. Eumo Editorial. Associació per les arts visuals.
- 1927. La abstracción necesaria en el arte y la arquitectura europeos de entreguerras.
Juan José Lahuerta. Anthropos.
- Presencias reales. George Steiner. Ensayos Ed. Destino.
- Dibujar después de 1910. José García Navas. Ed. UPC.
- Elogio de la sombra. Tanizaki. Ed. Siruela.
- La lógica del límite. Eugenio Trías. Ensayos Ed. Destino.
- Lo bello y lo siniestro. Eugenio Trías. Ensayos Ed. Destino.
- Arte, proyecto e ideas. Nº 2 y 3. Varios autores. Universidad Politécnica de Valencia.
- Pensar, componer. Construir, habitar. Cuadernos nº 9. Arteleku. Ed. Francisco Jarauta.
- Tensiones del Arte y la Cultura en el fin de siglo. Cuadernos nº 8. Arteleku. Ed. Francisco Jarauta.
- Sabiduría de la ilusión. Rafael Argullol. Ed. Taurus.
- Seis memorias para el próximo milenio. Italo Calvino.
- La obra de arte en la época de la reproductibilidad técnica. Walter Benjamin.
- El territorio del nómada. Rafael Argullol.
- Imágenes del pabellón Mies van der Rohe. José Quetglas. Les Editions Section b Canada inc.
- Complejidad y contradicción en arquitectura. Robert Venturi. Ed. Gustavo Gili.
- Arte en la era electrónica; perspectivas de una nueva era. Varios autores. Claudio Giannetti ed.
- Pablo Palazuelo, escritos y conversaciones. Colección arquitectura nº 36.
Colegio Oficial de Aparejadores y Arquitectos técnicos. Librería Yerba Caja Murcia.
- Principios del nuevo arte plástico. Theo van Doesburg. Colección arquitectura nº 9.
Colegio Oficial de Aparejadores y Arquitectos técnicos. Librería Yerba Caja Murcia.
- La nueva imagen en la pintura. P. Mondrian. Colección arquitectura nº 9. Colegio Oficial de Aparejadores y Arquitectos técnicos. Librería Yerba Caja Murcia.
- Bauhaus. Magdalena Droste. Ed. Taschen
- El nacimiento de la tragedia. Friedrich Nietzsche. Alianza Ed.
- Arte y escritura. Varios autores. Ediciones Universidad de Salamanca.
- A toda crítica. Robert Hughes. Ed. Anagrama.
- La revolución en la ética. Norbert Bilbeny. Ed. Anagrama.
- Historia de la estética. Edgar de Bruyne y Bernard Bosauquet. Monografía nº 1.36 ETSAB.