This course is based on a study of the theoretical thought of architecture from Vitruvio until today, by cases and theories of the XVII and XVII centuries, in order to make a deep reflection of the architecture of the XIX century and to finally address the renovation of the architectonic and artistic thought from vanguardism to the XX century.
Type Subject
Tercer - Obligatoria

Titular Professors

Previous Knowledge

Courses on the Theory and History of Architecture first year of Superior Architecture.


Students who complete our Composition I course acquire the knowledge and develop the skills listed below:

1. A sequential knowledge of the evolution of the theory and practice of architecture from the Modern era through to the vanguard divisions of the XX century.
2. To design and use documented or virtual library sources in order to achieve the acquired requisites and analyse and interpret the results obtained. .
3. To identify, formulate and solve theoretical issues of the architectonical composition in practice in a multi-disciplinary environment, on an individual basis or in groups.
4. Effective oral and written communication.
5. To understand all the contemporary aspects related to the practice of the profession along with the need for a continuous form of training


The course is based on three theoretical parts:
1. Theory of the pre-industrial world: Vitruvio, Alberti and those involved in architecture until the XVII century. And the evolution of science.
2. The XIX century: from Winckelmann Wölfflin, a theory of German architecture; Viollet-le-Duc and the rationalist structure in France; Ruskin, Pugin and Morris, poet and architect in England.
3. The historic vanguard architects of the XX century and their influence: cubism. Futurism, expressionism, abstraction, constructism, neoplasticism.
4. The historical vanguard architects of the XX century and their influence in architecture: cubism, futurism, expressionism, abstraction, constructivism, neo-plastic, dadiasm, surrealism.


Two tour weekly lectures. The teacher will inform the student of what s/he should consolidate at home or in study time. This way, the student is obliged to improve her/his capacity to analyse and synthesize.

The student should have a well-rooted knowledge of the basic concepts of the area of study. In order to achieve this, the student has to compare the material covered in class with other information and constantly update the area of study in order to be able to find a suitable answer to the tasks and the exams.

When performing the tasks set, the student must use her/his native language correctly both orally and in writing. The teacher uses examples which the students develop with their own ability to criticise and self-criticise and compare to the subjects studied in class, or those which are otherwise related to the composition. This involves the ability to research topics and also a creative capacity in order to generate new ideas.


A. Exams, D. Homework, F. Group work, J. Class Participation
Parking criteria:
80% exams; 20% work and attendance.

Evaluation Criteria

Objective 1:
- The student must show the ability to coherently answer the questions and the concepts of the subject matter covered in class. [A].
Objective 2:
- The student has to show effective oral and written communication and know how to
argue her/his case using the theoretical knowledge acquired on the course. [A].
Objective 3:
- The student must show that s/he can carry out work on architectural theory on an individual basis or in group and that s/he knows how to complement the theoretical content with graphic material. [D, E].
Objective 4:
- The student must demonstrate in his theoretical and practical work that s/he is analysing the content from a contemporary view and that s/he is up to date with important developments in the artistic and architectural world. [D, I, J].

Basic Bibliography

HEREU, Pere. `Teoria de l´Arquitectura. L´ordre i l´ornament´. Edicions UPC. Barcelona, 1998.
De FUSCO, Renato. `La idea de Arquitectura. Historia de la crítica desde Viollet-le-Duc a Pérsico´. Editorial Gustavo Gili, Barceloan, 1976.
De MICHELIS, Mario, `Las vanguardias artísticas del siglo XX´. Alianza Editorial. Madrid, 1979.

Additional Material

GOETHE, J.W.. `Teoría de los colores´. Consejo General de Arquitectura Técnica. Madrid, 1999
HEGEL, G.W. `Introducción a la Estética´. Península. Barcelona, 1973
VIOLLET-Le-DUC. `Entretiens sur l´architecture´. Pierre Mardaga éditeur. Paris, 1986
DURAND, J.N.L. `Compendio de lecciones de arquitectura´. Pronaos. Madrid, 1981
SEMPER, G., Lo Stile. Laterza. Roma, 1992
RIEGL, A. `Problemas de estilo´. Gustavo Gili. Barcelona, 1980
MORRIS, W. `Arte y sociedad industrial´. Fernando Torres editor. Valencia, 1975
RUSKIN, J. `Las Siete Lámparas de la Arquitectura´. Altafulla. Barcelona, 1989
BOCCIONI, Umberto. `Estética y arte futuristas´. El Acantilado, Barcelona, 2004.
BRETON, André. `Manifiestos del surrealismo´. Editorial Labor, Barcelona, 1985.
DE L´ECOTAIS, Emmanuelle. `El espíritu dadá´. Adagp. París, 1998.
DUROZOI, G., LECHERBONNIER, B. `El surrealismo´. Guadarrama, Madrid, 1974.
GOLDING, John. `El cubismo. Una historia y un análisis´. 1907-1914. Alianza editorial. Madrid, 1988.
GOLDING, John. `Caminos a lo absoluto´. Turner, Fondo de Cultura Económica, 2003.
LODDER, Christina. `El constructivismo ruso´. Alianza editorial, 1988.
STACHELHAUS, Heiner. `Kasimir Malewich. Un conflicto trágico´. Parsifal ediciones, Barcelona, 1991.
TZARA, Tristan. `Siete manifiestos DADA´. Tusquests ed., Barcelona, 2003.