The course studies the procedures in the writing of an architectural composition from a contemporary point of view along with other forms of the figurative work, in order to recognise common ground, and to be able to relate artistic theory with the conceptual systems used at any given time. This is done through the study of many examples which attempts to offer the necessary instruments to critically analyse artistic and architectonical objects while showing the value of the instrument as a tool to foment the student´ s own project.
Type Subject
Tercer - Obligatoria
Previous Knowledge

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


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

1. Knowledge of the history of art and of architecture which enables the student to complete a transversal journey and to inter-relate the knowledge in a well-structured form.
2. To design and use theoretical arguments, together with graphic information to achieve the acquired requisites and analyse and interpret the results obtained. To be able to choose the technical methods, new computing tools, not forgetting hand-drawing in order to graphically express ideas based on solid and well-supported arguments.
3. To identify, formulate and solve historical analysis and composition problems in a multi-disciplinary environment, on an individual basis or in groups. Effective oral and written communication.
4. 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 base don six theoretical parts:

1. Form and memory.
2. Form and formal genesis.
3. Sizes and proportions.
4. Natural and Artificial.
5. Individualism and metropolis.
6. Utopia y realism.


A series of weekly lectures, combined with workshops and debates on composition exercises carried out by the student at home or t the school of architecture. These exercises, based on the content of the class, make the student read, compare bibliographies; look for images and texts, in order to later be able to compile all this information in a coherent and well-argued form. In this way, the student´s capacity for analysis and synthesis are consolidated: This also forces the student to use her/his won language correctly, both orally and in writing.

The student also has to show that s/he can work in a team that s/he is able to carry out research and the student must also be creative when it comes to generating new ideas.

Apart from the theory classes, the teachers follow the work of the students and give them personal guidance, with the aim of achieving better results.


A. Exams.
D. Homework.
H. Projects.
I. Presentations.
J. Class Participation.

Parking criteria:
30% exams, 40% projects and exercises, 30% presentations and class participation.

Evaluation Criteria

Objective 1:
- The student must show the ability to absorb and resolve the formal composition of an artistic or architectonic object in a way that is coherent with the set objectives, in line with the consolidated line of argument which s/he has developed. [D, H].
Objective 2:
- The student must demonstrate theoretical knowledge and critical criteria which support her/his proposals. [D, I, J].
Objective 3:
- The student must show that s/he has understood the material covered in class and that s/he knows how to value it. [A, J].
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

BERGER, John. `El sentido de la vista´. Alianza editorial, Madrid, 1990.
DE FUSCO, Renato. `La idea de arquitectura´. Editorial Gustavo Gili, Barcelona, 1976.
RASMUSSEN, Steen Eiler. `Experiencia de la arquitectura´. Editorial Labor, Barcelona, 1974.
RELLA, Franco. `El silencio y las palabras´. Paidós, Barcelona, 1992.
TAFURI, Manfredo. `La esfera y el laberinto. Vanguardia y arquitectura de Piranesi a los años setenta´. Editorial Gustavo Gili, Barcelona, 1976.
ZEVI, Bruno. `Leer, escribir, hablar arquitectura´. Editorial Apóstrofe, Barcelona, 1999.

Additional Material

WRIGHT, F.Ll. `Autobiografía´. El croquis editorial. Madrid, 1998
ALPERS, S. `The Art of Describing. Dutch Art in the Seventeenth Century´. Penguin Books. London, 1983
COOK, Sir Theodore. `The Curves of Life´. Constable & Compª editions.
GHYKA, Matila. `Estética de las proporciones en la naturaleza y en las artes´. Editorial Poseidón, Buenos Aires, 1953.
GOMBRICH, G.H. `El sentido del orden. Estudio sobre la psicología de las artes decorativas´. Debate, Madrid, 1999.
IND, Rosemary. `Emberton´. Scolar Press, Londres-Berkeley, 1983.
LE BOT, Marc. `Pintura y maquinismo´. Ediciones Cátedra, Madrid, 1979.
MUNARI, Bruno. `Design e comunicazione visiva´. Economica Laterza, Bari, 1994.
RUDOFSKY, Bernard. `The Prodigious Builders. Secker & Warburg´. Londres, 1977.
SCHOLFIELD, P.H. `Teoría de la proporción en arquitectura´. Editorial Labor, Barcelona, 1971.
THOMSON, D´Arcy. `Sobre el crecimiento y la forma´. Cambridge University Press. Madrid, 2003.