Subject

History and Theory of Architecture II

  • code 07987
  • course 2
  • term Semester 2
  • type OB
  • credits 6

Main language of instruction: Spanish

Other languages of instruction: English

Teaching staff

Head instructor

Dr. Alberto ESTÉVEZ - estevez@uic.es

Office hours

Attention of the subject Architectural Composition 2

Attention to students is given at all times when it is required, throughout the scheduled class time, both theoretical and practical. On the other hand, a specific schedule of personalized, individual attention is also established, which is set every Tuesday between 7:00 p.m. and 8:00 p.m. Without detriment to the choice of another time that can be arranged by appointment.

Introduction

In the event that the health authorities announce a new period of confinement due to the evolution of the health crisis caused by COVID-19, the teaching staff will promptly communicate how this may effect the teaching methodologies and activities as well as the assessment.

“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 2 and 3. 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 2 and 3 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

Regarding the contents of this "Composition" Matter, the objectives of the Degree that especially affect it are:

1.  Ability to create architectural projects that satisfy both aesthetic and technical demands.

2.  Adequate knowledge of the history and theories of architecture, as well as related arts, technology and human sciences.

3. Knowledge of the fine arts as a factor that can influence the quality of the architectural conception.


Thus, the contents of this Matter are arranged in line with these objectives, in order to develop the corresponding competences (34-T, 35-T, 40, 48, 49, 50, 51, 53, 54, 55, 56 and 57):

- Composition, theory and history of urban and architectural projects.

- Architectural criticism.

- General theories of form, composition and architectural types.

- General history of architecture.

- Symbolization processes, practical functions and ergonomics from composition, theory and history.

- Social needs, quality of life, habitability and basic housing programs from the composition, theory and history.

- Architectural, urban and landscape traditions of Western culture. Its technical, climatic, economic, social and ideological foundations.

- Esthetic. Theory and history of fine arts and applied arts.

- Relationship between cultural patterns and social responsibilities of the architect.

- Bases of vernacular architecture.

- Urban sociology, theory, economics and history.

These 11 sections are in turn the learning outcomes to be required of students for the assessment of skills.

Competencies

  • 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.

Learning outcomes

See the next.

Syllabus

Architectural Composition 2

Architecture and design of the end of the s. XIX and first half of the s. XX (1851-1939) / And entering the third decade of the 21st century...

Prof. Yomna Abdallah (Prof. Alberto T. Estévez)

Program and work plan (agenda), 6 ECTS (x 25-30 h./ECTS = 150-180 h. dedication 15 weeks, 10-12 h./week)

WEEK 1                  (Tuesday, 19 January 2021, 15:00-19:00 h)

- 15:00 h. Introduction (Opening class: Justification - Objectives - Competences - Contents - Methodology - Bibliography - Evaluation - Attention - Documents).

- 16:00 h. Topic 1: Breaking the classical tradition, in pursuit of a new art, architecture and design for a new world

Crisis of historicism - Birth of a "new style" - Antecedents and precursors (contextualization).

Universal exhibitions - Architecture and design with iron (the new materials) - Joseph Paxton [Crystal Palace]

- 17:00 h. Theoretical-practical class: Architectural Composition in the third decade of the 21st century

 

WEEK 2                  (Tuesday, 26 January 2021, 15:00-19:00 h)

- 15:00 h. Topic 2: Applied Arts Reform in England - Ruskin and Morris - Arts & Crafts (Mackmurdo, Dresser, Voysey)

- 16:00 h. Theoretical-practical class: Architectural Composition in the third decade of the 21st century

 

WEEK 3                  (Tuesday, 2 February 2021, 15:00-19:00 h)

- 15:00 h. Topic 3: Modernisme in Catalonia I (Domènech, Puig, Jujol) - Emotionality and rationality - The Catalan triad (Domènech, Puig, Jujol)

- 16:00 h. Theoretical-practical class: Architectural Composition in the third decade of the 21st century

 

WEEK 4                  (Tuesday, 9 February 2021, 15:00-19:00 h)

- 15:00 h. Topic 4: Modernisme in Catalonia II (Gaudí) - Emotionality and rationality - The Catalan genius (Gaudí)

- 16:00 h. Theoretical-practical class: Architectural Composition in the third decade of the 21st century

 

WEEK 5                  (Tuesday, 16 February 2021, 15:00-19:00 h)

- 15:00 h. A-L, Theoretical-practical class, at La Pedrera - Casa Milà - Art Nouveau architecture itinerary (meeting point, corner of Paseo de Gracia / Calle Provenza)

- 16:45 h. M-Z, Theoretical-practical class, at La Pedrera - Casa Milà - Art Nouveau architecture itinerary (meeting point, corner of Paseo de Gracia / Calle Provenza)

 

WEEK 6                  (Tuesday, 23 February 2021, 15:00-19:00 h)

- 15:00 h. A-L, Theoretical-practical class, at Park Güell (meeting point, main gate of Park Güell)

- 16:45 h. M-Z, Theoretical-practical class, at Park Güell (meeting point, main gate of Park Güell)

 

WEEK 7                  (Tuesday, 2 March 2021, 15:00-19:00 h)

- 15:00 h. A-L, Theoretical-practical class, at La Sagrada Familia (meeting point, facade of Calle Marina)

- 16:45 h. M-Z, Theoretical-practical class, at La Sagrada Familia (meeting point, facade of Calle Marina)

 

WEEK 8                  (Tuesday, 9 March 2021, 15:00-19:00 h)

- 15:00 h. 1st part exam (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

- 16:00 h. Topic 5: Art Nouveau in Belgium (Horta) - Free Line and Geometry

- 17:00 h. Topic 6: Modern Style in Scotland (Mackintosh) - Free Line and Geometry

 

WEEK 9                  (Tuesday, 16 March 2021, 15:00-19:00 h)

- 15:00 h. Topic 7: Nancy School in France (Gallé, Daum, Majorelle) and the Parisian scene (Guimard, Lalique, Mucha)

- 16:00 h. Theoretical-practical class: Architectural Composition in the third decade of the 21st century

 

WEEK 10                (Tuesday, 23 March 2021, 15:00-19:00 h)

- 15:00 h. Topic 8: Jugendstil in Germany - Kunstwollen y Typisierung - Deutscher Werkbund (Van de Velde, Muthesius, Behrens)

- 16:00 h. Theoretical-practical class: Architectural Composition in the third decade of the 21st century

 

EASTER HOLIDAYS WEEK        (Tuesday, 30 March 2021)

WITHOUT CLASSES

 

WEEK 11                (Tuesday, 6 April 2021, 15:00-19:00 h)

- 15:00 h. Topic 9: Secessionstil in Austria - Ornament and Crime: Loos - Wagnerschule (Wagner, Hoffmann, Olbrich)

- 16:00 h. Theoretical-practical class: Architectural Composition in the third decade of the 21st century

 

WEEK 12                (Tuesday, 13 April 2021, 15:00-19:00 h)

- 15:00 h. Topic 10: The situation in America - Shakers / Tiffany - The Chicago School (from the skyscraper to the 1893 Expo) - (The American Triad, Richardson, Sullivan, Wright)

- 16:00 h. Theoretical-practical class: Architectural Composition in the third decade of the 21st century

 

WEEK 13                (Tuesday, 20 April 2021, 15:00-19:00 h)

- 15:00 h. Topic 11: The architectural avant-gardes - Expressionism and Neue Sachlichkeit - Bauhaus (Gropius, Rietveld, Mendelsohn / German expressionism)

- 16:00 h. Theoretical-practical class: Architectural Composition in the third decade of the 21st century

 

WEEK 14                (Tuesday, 27 April 2021, 15:00-19:00 h)

- 15:00 h. Topic 12: "Heroes, feats and exile" - Rational-functionalism and totalitarian neoclassicisms - International Style (Mies van der Rohe, Terragni, Le Corbusier)

- 16:00 h. Theoretical-practical class: Architectural Composition in the third decade of the 21st century

 

WEEK 15                (Tuesday, 4 May 2021, 15:00-19:00 h)

- 15:00 h. A-L, Theoretical-practical class, in the Mies Pavilion, Casaramona Factory and Art Nouveau Room of the MNAC (meeting point, main door of the MNAC, Montjuïc)

- 16:45 h. M-Z, Theoretical-practical class, in the Mies Pavilion, Casaramona Factory and Art Nouveau Room of the MNAC (meeting point, main door of the MNAC, Montjuïc)

 

WEEK EXAMEN    (Tuesday, 25 May 2021, 16:00-17:00 h)

- 16:00 h. 2nd part exam (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.

 

REVIEW WEEK (Thursday, 3 June 2021, 18:00-19:00 h)

- 18:00 h. Exam review

 

EXAM WEEK 2nd CALL (Tuesday, 22 June 2021, 18:00-20:00 h)

- 18:00 h. Exams 2nd call

 

REVIEW WEEK (Wednesday, 7 July 2021, 18:00-19:00 h)

- 18:00 h. Exam review

Teaching and learning activities

In person

Methodology of the subject Architectural Composition 2

Some of the words that will appear now in this paragraph were already written years ago: “The course program does not announce the teacher's lessons that students should attend, but rather indicates the work of the students throughout the course. Thus, it is not a show program to be offered to a passive audience that ‘takes notes’, but a work program, provisionally articulated in four levels: readings, exercises, lectures 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 course book" and "the four books of the subject" and others, general or specific according to topics. For some of these readings, the hours after the theoretical classes are reserved, always on the corresponding theoretical topic given just the same day in class, at which time it is convenient that each one individually write by hand an extension of the aforementioned topic supported by the bibliography, in preparation for exams.

The exercises will make it possible to specify objectives, apply theory, stimulate teaching-learning, accelerate the acquisition of skills, knowledge and capacities for today's architect, etc. Specifically, the exercises will be those that take their title from the same name in this area and in this subject, exercises in "architectural composition", corresponding to the time in which we live, the third decade of the 21st century: "Der Zeit Ihre Kunst", each age corresponds to its art and architecture and in architectural composition subjects, as is explicit in its name, one must learn to compose architecturally.

The lectures (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 herself/himself will have to carry out, to pass the level of each subject. Where the emphasis of such teaching is rather on advising on the concentration criteria, and not on a dry enumeration of concepts. It is more explicit "why it is important", and not a mere landing of "everything that is important". Likewise, such a synthesis is based on bringing out a selection of architects, designers, artists, and texts before the student, where - again - it will teach them to gauge why one is chosen and not the other, given the current morass 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 necessarily change from course to course, also adapting to the offer of the exhibitions of each moment and of each place where each student passes (naturally voluntary). The most common thing - apart from the specific buildings listed in the Program - will be visits to exhibitions offered by Barcelona institutions related to course content, which will be notified and commented on. Understanding that the theoretical-practical classes are part of the taught content of the subject to be examined.

[1] QUETGLAS, Josep, Pasado a limpio II, p. 153, Editorial Pre-textos – Col.legi d’Arquitectes de Catalunya, Demarcació de Girona, Girona, 1999.

TRAINING ACTIVITYCOMPETENCESECTS CREDITS
Class exhibition
34-T 35-T 40 48 49 50 51 53 54 55 56 57 0,75
Class participation
34-T 35-T 40 48 49 50 51 53 54 55 56 57 0,75
Clase practice
34-T 35-T 40 48 49 50 51 53 54 55 56 57 0,75
Tutorials
34-T 35-T 40 48 49 50 51 53 54 55 56 57 0,75
Individual or group study
34-T 35-T 40 48 49 50 51 53 54 55 56 57 3

Evaluation systems and criteria

In person

Assessment of the subject Architectural Composition 2

Continuous evaluation, "every week counts" attendance and participation in class, exercises, and exams. The evaluation criteria will prioritize creativity and critical depth, their intelligence, their efficacy of fascination, the capacity for analysis and synthesis, as well as scientific base 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.

Percentages... As seen in the program and work plan (agenda), this course consists of 15 weeks. 35% of the final grade for the course will correspond to each of the two exams to be performed. Likewise, in coherence with continuous evaluation, the 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 of the notes of each class at the end of the course, taken by hand (10%), and with the delivery of the exercises (20%). It should be specified that each of the two partial exams must be passed to make an average. If any of them are suspended, they must be recovered in the second call exam. The 70% from the exams, to add the 30% of what was achieved throughout the course (punctual attendance to class, delivery of the notes of each class, and exercises),

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 - work especially on information management and self-learning. On the other hand, for the correct answer to the questions of the exams, as it will be evaluated, due to the limited time, it will be advised of the need to have exercised before, during its preparation, in the analysis, synthesis and criticism.

The two exams, which must necessarily be passed separately to make an average, will be multiple choice (50% of the exam grade). And a second part will consist of three questions, to be solved with a time limit of ten minutes each (50% of the exam grade). It will deal with what was discussed in class and what was highlighted 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 the subject with the recommended bibliography, which due to time constraints will not have been taught in class to every topic of every day. Obviously, this means that if the exams answered exactly what was said in class about each question, only a 5 would be possible.

The delivery of the daily notes and the exercises guarantee the presence (face-to-face monitoring) of the subject. And since this face-to-face follow-up of the subject is mandatory, because it appears in the academic curriculum of each student, the subject cannot be understood as passed if there are faults in the face-to-face follow-up of more than 25%, which is,  why the content of the subject is missing if a delivery of the classroom notes and exercises of more than 25% is missing.

Bibliography and resources

           Bibliography of the subject Architectural Composition 2

"The course book"

BENEVOLO, L., Historia de la arquitectura moderna, Gustavo Gili, Barcelona, 2002 (1960)

"The four books of the subject" (minimum bibliography)

FRAMPTON, K., Historia crítica de la arquitectura moderna, Gustavo Gili, Barcelona, 2002 (1980)

PEVSNER, N., Los orígenes de la arquitectura moderna y del diseño, Gustavo Gili, Barcelona, 1976

SCHMUTZLER, R., El Modernismo, Alianza, Madrid, 1980

STERNER, G., Modernismos, Labor, Barcelona, 1982 (1977)

Subject dossiers (on the UIC website, in the photocopy shop and in the UIC library)

ESTÉVEZ, A. T., Antoni Gaudí: síntesis de una arquitectura, Fotocopistería UIC-Iradier, Barcelona, 2000 (1994)

ESTÉVEZ, A. T., Adolf Loos, Fotocopistería UIC-Iradier, Barcelona, 2000 (1992)

ESTÉVEZ, A. T., Arquitectura y Diseño de la Protomodernidad, Fotocopistería UIC-Iradier, Barcelona, 2000 (1996)

ESTÉVEZ, A. T., Arquitectura y Diseño de la Modernidad, Fotocopistería UIC-Iradier, Barcelona, 2000 (1998)

General bibliography

BANHAM, R., Teoría y diseño en la primera era de la máquina, Paidós, Barcelona / Buenos Aires / Mexico, 1985 (1960)

BOUILLON, J. P., Diario del Art Nouveau: 1870-1914, Destino, Barcelona, 1990

CAMPI, I., Historia del diseño industrial, colección Massana, Edicions 62, Barcelona, 1987

CHUECA GOITIA, F., Historia de la arquitectura occidental, vols. XI y XII, Dossat, Madrid, 1989-90

COLQUHOUN, A., La arquitectura moderna: una historia desapasionada, Gustavo Gili, Barcelona, 2005 (2002)

CURTIS, W. J. R., La arquitectura moderna desde 1900, Phaidon, Londres / New York, 2006 (1982)

DE FUSCO, R., Historia de la arquitectura contemporánea, Blume, Madrid, 1981

DORMER, P., Diseñadores del siglo XX: las figuras clave del diseño y las artes aplicadas, CEAC, Barcelona, 1993

FANELLI, G., El diseño art nouveau, Gustavo Gili, Barcelona, 1982

HESKETT, J., Breve historia del diseño industrial, Serbal, Barcelona, 1985

HITCHCOCK, H. R., Arquitectura: siglos XIX y XX, Cátedra, Madrid, 1981

SATUÉ, E., El diseño gráfico, desde los orígenes hasta nuestros días, Alianza, Madrid, 1988

SEMBACH, K. J., Modernismo, Taschen, Cologne, 1991

TAFURI, M., DAL CO, F., Arquitectura contemporánea, Aguilar, Madrid, 1980

TAFURI, M., Teorías e historia de la arquitectura, Celeste, Madrid, 1997 (1968)

TAMBINI, M., El diseño del siglo XX, Ediciones B, Barcelona, 1997

TSCHUDI MADSEN, S., Art Nouveau, Guadarrama, Madrid, 1967

ZEVI, B., Historia de la arquitectura moderna 1 y 2, Poseidón, Barcelona, 1980 (1975)

Specific bibliography for each topic

AA.VV., Les altres Pedreres. Arquitectura i disseny al món a principis del segle XX, Fundació Caixa Catalunya, Barcelona, 2012

AA.VV., Colección Estudio Paperback y Colección Obras y Proyectos (monografías de arquitectos del siglo XX), Gustavo Gili, Barcelona

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

BASSEGODA, J., El Gran Gaudí, Ausa, Sabadell, 1989

BLASER, W., Mies van der Rohe, Gustavo Gili, Barcelona, 1980

DROSTE, M., Bauhaus, Taschen, Cologne, 2002

ESTÉVEZ, A. T., Al margen: escritos de arquitectura, Abada, Madrid, 2009 (chapters “De Gaudí a Calatrava” and “Le Corbusier, La Ciudad Radiante)”

ESTÉVEZ, A. T., Gaudí, Susaeta, Madrid, 2005 (2002)

ESTÉVEZ, A. T., Arquitectura de Gaudí, Tikal ediciones, Madrid, 2011 (2010)

ESTÉVEZ, A. T., Enciclopedia ilustrada: Gaudí, Susaeta, Madrid, 2010

LE CORBUSIER, Hacia una arquitectura, Apóstrofe, Barcelona, 1998 (1930)

LE CORBUSIER, El espíritu nuevo en arquitectura - En defensa de la arquitectura, Col. Of. de Aparej. y Arqs. Técs. de la Reg. de Murcia, Murcia, 2003 (1925 y 1929)

LE CORBUSIER, Oeuvre Complète, Girsberger, Zurich, 1964

PFEIFFER, B. B., Frank Lloyd Wright, Barnes & Noble, New York, 1994

Additional general and/or specific bibliography of interest

AA.VV., Diccionario de arquitectos: de la antigüedad a nuestros días, colección Estudio Paperback, Gustavo Gili, Barcelona, 1981

AA.VV., Colección de reediciones de escritos históricos de artistas y arquitectos del s. XX, Colegio Of. de Aparejadores y Arqs. Técs. de la Región de Murcia, Murcia

AA.VV., Biblioteca de Arquitectura (colección de reediciones de escritos históricos de arquitectos del s. XX), El Croquis Editorial, Madrid

BAYLEY, S. (director), Guía Conran del diseño, Alianza, Madrid, 1992

CONRADS, U., Programas y manifiestos de la arquitectura del siglo XX, Lumen, Barcelona, 1973

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)

HEREU, P., MONTANER, J. M., OLIVERAS, J., Textos de arquitectura de la modernidad, Nerea, Hondarribia, 1999 (1994)

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

PEVSNER, N., FLEMING, J., HONOUR, H., Diccionario de arquitectura, Alianza, Madrid, 1980

SHARP, D. (director), Diccionario ilustrado de arquitectos y arquitectura, CEAC, Barcelona, 1993

Teaching and learning material

      Material
            Program English Composition 3 2020-21 progrcomp22020-21engldef.pdf 
            Program Spanish Composition 2 2020-21 progrcomp22020-21def.pdf 
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