Titular Professors
Professors
SDR I.
Basic knowledge about the history of architecture and art; Capacity for graphic expression with traditional means (drawing, models) and computer science; ability for visual and written thinking; User-level knowledge of standard computer programs (Photoshop, AutoCAD, 3dStudioMax, Premiere).
The aim of this subject is to provide a knowledge that allows students of architecture to conceive and represent the form and space according to contemporary ways of thinking and using the techniques of representation typical of ours age.
The subject has an interdisciplinary nature, since it allows to relate various areas of knowledge (aesthetics and composition, visual communication, information and communication technologies, geometry and drawing) into a new educational space.
Information technologies play an important role in the course, and are used in combination with the techniques considered traditional (drawing, photography, video). The computer programs created especially for this subject facilitate the intuitive creation of forms and spaces. Likewise, learning environments are used through the Network to promote creative work in collaboration.
Learning objectives of the subject:
Provide students with the cognitive mechanisms and the strategies of the design strategies necessary to understand the contemporary world, through various representation systems.
Specifically, through the activities carried out in the course, students learn to:
- Conceive three-dimensional objects through formal languages based on line, plane and solid.
- Understand the multiple reciprocal relationships between form and space, in their multiple dimensions and scales.
- Create three-dimensional objects as the result of an open and shared process of generation.
- Represent and communicate, through the language of the photographic image, the contemporary city.
- Perceive, recreate and represent architectural space, in its multiple dimensions and scales, through audiovisual language.
- Use light as a material in the creation of architectural space.
The topics addressed in each of the four systems of representation covered by the course, and the work carried out by students in each of them:
OBJECT
Topics: The formal languages based on the line, the plane and the solid. The form as a result of a process: morphogenesis. The relationship between form and space, in sculpture and architecture.
Activities: To develop a three-dimensional object with the formal languages of the line, the plane and the solid; to translate a three-dimensional object from one formal language to another, and from one medium to another (from a digital model to a physical model; from a physical model to a digital model); to conceptualize and represent the process of generating a form in space.
IMAGE
Themes: The evolution of the image: from painting to photography. Image and advertising. Photography and photomontage in the artistic avant-gardes. The image in the digital culture.
Activities: To make photographs of the city that reflect the ideas drawn from reading texts on urban theory; to reflect on the contemporary city from the ideas suggested by photographs; to create photomontages that effectively convey an idea about contemporary city and architecture, using audio-visual techniques and digital media.
SPACE
Topics: Space concepts. Space as experience and as representation. The representation of space in painting. The cinematographic language and the representation of space in the cinema.
Activities: To perceive and represent space by means of audio-visual media; to represent the experience of the lived space through the cinematographic language.
LIGHT
Topics: Notions of light: physical, sensorial and conceptual. The representation of light in painting and cinema. The relationship between form, space and light in architecture. The art of light: the creation of spaces from light.
Activities: To create spaces using light as material, with manual and digital techniques; to explore the relationship between light, colour and sound.
The methodology is based on the blended-learning model, which integrates the activities in the classroom with those carried out in online learning environments; on project-based learning, by which the student proposes and develops a project throughout the learning activities; and on sequence-based learning model, whereby the learning activities are structured in blocks that are connected in multiple ways as the course progresses.
Lectures are limited to the presentation of key topics ("theory bits") that form a network of relationships between subjects and concepts. This content is explained in the classroom and developed collaboratively with the students. In this sense, the adopted pedagogical model is constructivist, insofar knowledge is constructed jointly by teachers and students. Students are guided through the process of creating and developing assignments, in tutorials and group sessions. Students learn to use the computer programmes necessary to carry out the work, individually and in groups, both in and out of the classroom.
The ARCLASS online environment is used to share learning content and work done by students. In this environment, the tasks - structured in sequences (learning activities) - are described by means of a template, which includes: description, objectives, recommendations, rubrics and learning resources. In ARCLASS, the work done by the learners becomes a learning resources to develop new activities. In this online environment, students and teachers comment on the submitted assignments, add references to them, and create relationships between the contents; teachers comment on and guide the development of students' work in this online learning environment.
The assessment of the coursework is done on a continuous basis and it includes all of the learning activities carried out in and outside the classroom. Class activities subjected to evaluation include: active participation in lectures and group meetings, the exercises carried out in classroom, and the reviews with tutors.
Each learning activity is assessed using an analytical rubric that corresponds to the learning outcomes applicable to each task. The overall grade of an activity is the result of the value assigned to each of the dimensions of the rubric. Each activity is assigned a weight in the overall grade of the theme.
The overall grade for each theme (OBJECT, IMAGE, SPACE, LIGHT) is obtained from the weighted median ratings of all the learning activities including the activities in the classroom. The learning activities account for 70% of the grade of theme and the class activities 30%.
The overall grade of the course is obtained from the weighted average of the grades of the four themes (OBJECT, IMAGE, SPACE, LIGHT). To consider it in the average, the grade of a theme cannot be less than 4 nor be NP.
In case of failing the coursework evaluation, the learning activities of each theme graded as failed or unsubmitted will need to be improved and/or repeated. The assessment criteria will be the same as those used to assess the work carried out during the course.
There are two mid-term evaluations in which the students are requested to present a summary of the work done in a public session, in the format indicated for the occasion.
ADES, Dawn. Fotomontaje. Barcelona: Gustavo Gili, 2002.
AILLAUD, Gilles. BLANKERT, Albert. Vermeer. Obra completa. Barcelona: Ediciones Polígrafa, 2007.
ALBERTI, Leon Battista. Sobre la pintura. Valencia: Fernando Torres, 1976.
ALPERS, Svetlana. The Art of Describing: Dutch Art in the Seventeenth Century. Chicago: University of Chicago Press, 1983.
ARGAN, Giulio Carlo. El concepto del espacio arquitectónico. Buenos Aires: Nueva Visión, 1966.
BAIGORRI, Laura. El vídeo y las vanguardias históricas. Col·lecció Textos Docents n. 95. Barcelona: Universitat de Barcelona, 1997.
BARTHES, Roland. La cámara lúcida. Barcelona: Paidós, 1994.
BASILICO, Gabriele. Arquitecturas, ciudades, visiones. Reflexiones sobre la fotografía. Madrid: La Fábrica, 2008.
BECEYRO, Raúl. Ensayos sobre fotografía. Buenos Aires: Paidós, 2003.
BENJAMIN, Walter. Sobre la Fotografía. València: Pre-Textos, 2004.
BERNADÓ , Jordi. Very, very bad news. Barcelona: Actar, 2002.
BOCKEMUHL, Michael. J M W Turner 1775-1851 The World of Light and Color. Taschen, 1991.
BORDWELL, David, THOMPSON, Kristin. El arte cinematográfico: una introducción. Barcelona: Paidós Ibérica, 2002.
BOULLÉE, Étienne-Louis. Arquitectura. Ensayo sobre el arte. Barcelona: Gustavo Gili, 1985.
CAIRNS, Graham. La visión espacial del cine. El Arquitecto detrás de la cámara. La visión espacial del cine. Madrid: Abada, 2007.
CAMPO BAEZA, Alberto. La idea construida. La Arquitectura a la luz de las palabras. Madrid : Colegio Oficial de Arquitectos, 1996.
CARERI, Francesco. Walkscapes. El andar como práctica estética. Barcelona: Gustavo Gili, 2002.
CATALÀ, Josep Maria. La puesta en imágenes. Conceptos de dirección cinematográfica. Barcelona: Paidós, 2001.
EISENMAN, Peter. Houses of Cards. Oxford: Oxford University Press, 1987.
FLUSSER, Vilém. Una filosofía de la fotografía. Madrid: Síntesis, 2001.
FONTCUBERTA, Joan. El beso de Judas. Fotografía y verdad. Barcelona: Gustavo Gili, 2002.
GARCÍA ROIG, Manuel, MARTÍ ARIS, Carlos. La arquitectura del cine. Estudios sobre Dreyer, Hitchcock, Ford y Ozu. Barcelona: Fundación Caja de Arquitectos, 2008.
GARDNER, Carl, MOLONY, Raphael. Luz: reinterpretación de la arquitectura. México : McGraw-Hill, 2002.
GHYKA, Matila. Estética de las proporciones en la naturaleza y en las artes. Barcelona: Poseidon, 1983.
GIEDION, Sigfried. Espacio, tiempo y arquitectura. Madrid: Dossat, 1982.
GONZÁLEZ, Adolfo. El pensamiento constructivo: la aportación rusa en las vanguardias del arte y de la arquitectura. Ministerio de Fomento. Dirección General de la Vivienda, la Arquitectura y el Urbanismo. Vanguardia soviética : 1918-1933 arquitectura realizada. Madrid: Lunwerg, 1996.
GOROSTIZA, Jorge. Cine y Arquitectura. Alacant: Biblioteca Virtual Miguel de Cervantes, 2002.
GOVAN, Michael, BELL, Tiffany. Dan Flavin: a retrospective. Yale University Press, 2004.
HALE, Jonathan, FRASCARI, Marco, STARKEY, Bradley. From Models to Drawings: Imagination and Representation in Architecture. London: Routledge, 2007.
HEIDEGGER, Martin. Observaciones relativas al arte - la plástica - el espacio. El arte y el espacio. Cuadernos de la Cátedra Jorge Oteiza. Pamplona: Universidad Pública de Navarra, 2003.
HILDEBRAND, Adolf von. El problema de la forma en la obra de arte. Madrid: Visor, 1989.
JAFFÉ, Hans L. C. De Stijl: 1917-1931. Visiones de Utopía. Madrid: Alianza Editorial, 1986.
KEPES, Gyorgy. Language of Vision. Chicago: Paul Theobald, 1944.
KRAUSS, Rosalind. Lo fotográfico. Por una teoría de los desplazamientos. Barcelona: Gustavo Gili, 2002.
LAGUILLO, Manuel. La ciudad de la fotografía / The city of photography. Quaderns darquitectura i urbanisme, n. 183, pp. 70-77. Barcelona: Col·legi dArquitectes de Catalunya, 1989.
LALLEMAND, Henri. Monet: Impressions of Light. New York: Smith Mark, 1994.
LE CORBUSIER. Hacia una arquitectura. Barcelona: Apóstrofe, 1998.
LEWITT, Sol. Structures 1962-1993. Oxford: The Museum of Modern Art, 1993.
LOBELL, John. Between Silence and Light. Spirit in the Architecture of Louis Kahn. Boston: Shambhala Publications Inc., 1979.
LODDER, Christina. El constructivismo ruso. Madrid: Alianza Editorial, 1988.
LYNCH, Kevin. La imagen de la ciudad. Barcelona: Gustavo Gili, 1998.
MICHEL, Lou. Light: the shape of space: designing with space and light. New York: John Wiley, 1995.
MILLET, Marietta S. Light revealing architecture. New York: Van Nostrand Reinhold, 1996.
MOHOLY-NAGY, László. La nueva visión. Buenos Aires: Infinito, 1985.
MOLES, Abraham, ROHMER, Elisabeth. Psicología del espacio. Madrid: Ricardo Aguilera, 1972.
NIETO ALCAIDE, Víctor. La Luz, símbolo y sistema visual: el espacio y la luz en el arte gótico y del renacimiento. Madrid : Cátedra, 1993.
NORBERG-SCHULZ, Christian. Existencia, espacio y arquitectura. Barcelona: Blume, 1975.
OTEIZA, Jorge. Propòsit Experimental. Barcelona: Fundació Caixa de Pensions, 1988.
PEREC, George. Especies de espacios. Barcelona: Montesinos, 1999.
RASMUSSEN, Steen Eiler. La experiencia de la arquitectura. Barcelona: Laborcop. 1974.
RODCHENKO, Alexander. Rodchenko: Photography 1924-1954. Köln: Konemann Publishers, 1995.
RODCHENKO, Alexander. Spatial constructions. Ostfildern: Gerd Hatje, 2002.
ROWE, Colin, SLUTZKY, Robert. Transparency. Basel : Birkhäuser, 1997.
RUSSELL, Sage. The architecture of light: architectural lighting design concepts and techniques. La Jolla: Conceptnine, 2008.
SÁNCHEZ-BIOSCA, Vicente. El montaje cinematográfico: teoría y análisis. Barcelona: Paidós Ibérica, 1996.
SARTORI, Giovanni. Homo videns. Madrid: Taurus, 1998.
SONTAG, Susan. Sobre de la fotografía. Barcelona: Edhasa, 1980.
THOMPSON, D'Arcy W. Sobre el crecimiento y la forma. Madrid: Hermann Blume, 1981.
TOWNSEND, Chris. The Art of Bill Viola. London : Thames & Hudson, 2004.
TURRELL, James, ANDREWS, Richard, BRUCE, Chris. James Turrell: Sensing space: Henry Art Gallery, University of Washington Seattle, 1992. Henry Gallery Association, 1992.
WAGENSBERG, Jorge. La rebelión de las formas. Barcelona: Tusquets, 2004.
ZEVI, Bruno. Saber ver el espacio. Barcelona: Poseidón, 1998.
ZUMTHOR, Peter. Atmósferas. Barcelona: Gustavo Gili, 2006.