Subject

Critical Thinking II

  • code 07994
  • course 2
  • term Semester 2
  • type OB
  • credits 5

Main language of instruction: English

Other languages of instruction: Spanish

Teaching staff

Head instructor

Dr. Joan Vianney DOMINGO - vdomingo@uic.es

Office hours

In my office after every class

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.

Pensament 2: Estilo y estilos en el proyecto arquitectónico

Esta asignatura debe ayudar al alumno a familiarizarse con el concepto de Estilo arquitectónico. En ella se mezcla la historia de la arquitectura, el pensamiento estético y la estrategia del proyecto arquitectónico. Debe ayudar al estudiante de arquitectura a saber a qué se parecen sus proyectos y a no proyectar de forma convencional o imitativa, sino con elegancia, austeridad y gusto estético propio.

Hipótesis de trabajo. Enunciados:

  1. “El proyecto arquitectónico sólo responde a tres estilos bien determinados: Clasicismo, Esteticismo y Eclecticismo”.

  2.  “Cada uno de estos tres estilos debe excluir a los otros dos, y plantear abiertamente su propio desarrollo”.

  3. “Estos tres estilos han existido desde siempre y representan, cada uno de ellos, una decisión predeterminada, a la que el arquitecto no renunciará desde el principio hasta el final”.

  4. Ser coherente con estas premisas se denomina, en esta asignatura, proyectar “con estilo”.

Pre-course requirements

  1. Participation in class
  2. Aptitude to work in team
  3. Availability for personal interviews
  4. Relation capacity with the rest of the class
  5. Capacity for text comments
  6. Availability analysis and correction of the taken notes
  7. Conditions for oral exhibition of a work
  8. The excessive dependence on Internet is penalized

Objectives

1. To owe and understand

To understand the reality

To know everything and your parts

Knowledge is not to have but to be

To share and to announce the truth

Study habit

To plan the work,

To programme calendar

To verify, to revise, to correct

2. To apply knowledge

Problems answer(solution)

To include and to annotate the threads

To be right

To multiply the working capacity and array

Competitiveness,

Problem solving

Sense of the opportunity and of the efficacy

Safety and confidence in the work

3. To assemble to interpret.

To judge

Set vision

To be right

To consider

To find the virtue

To share the vital decisions

Valor to discover lagoons

Sense of the prudence and of the adventurousness

To wait without extracting hasty conclusions

4. To communicate

Explanatory clarity

To go to the main thing without neglecting the secondary thing

To generate confidence

To speak skylight,

To be appended,

Not polemizar

To transmit the innovation and the value of the tradition

To dose the information

Quality in the briefness

5. To be autonomous

Worldliness

Personal ripeness

To be able to consult without losing the tiemposaber to depend on others

To be wise persons without being autosufficient(self-sufficient)

To flee of the precipitation,

To exercise control on the reality

Personal and group safety

Competencies

THEORETICAL AND PRACTICAL FRAME. DEPARTMENT EDUCATION AND SCIENCE. State Department of Universities and Investigation

1. The kernel of the targets of the new organization of the education is the competitions acquisition on the part of the students

2. It will have to do emphasis on the learning methods of the above mentioned competitions and on the procedures to evaluate them

3. The term(end) competition is used exclusively in your academic meaning, and not in your meaning of professional attribution

4. Competitions 1: combination of knowledge, skills (intellectual, manual, social, etc.), attitudes and values to solve problems or to intervene in matters.

4.1. To distinguish between the exception and the rule, the parts and everything, the periphery and the center

4.2. To increase simultaneity skills in the analysis and the synthesis before complex problems

4.3. To base the self-esteem on the self-knowledge

4.4. To discover talents. To create and to form teams. Not to become essential

4.5. To compare ideas. To recount what is learned to what is known

4.6. To discern targets. I cut, come up, long term

4.7. Proved(Turned out to be) Objetivar. To distinguish advance, achievement and success

5. Competitions 2: especificity of the acquired knowledge and your application to the grade of architecture (before every competition there is specified your numerical denomination relative to the Curriculum of the BOE):

  • 40 - Ability to express architectural criticism.
  • 48 - To acquire adequate knowledge of the general theories of form, composition and architectural typologies
  • 50 - To acquire adequate knowledge of the study methods for the processes of symbolization, practical functions and ergonomics.
  • 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.
  • 57 - To acquire adequate knowledge of urban sociology, theory, economy and history.
  • 66 - Ability to internalise architectural form.
  • 67 - Ability to understand and analyse architecture and the city in relation to philosophical and societal systems.
  • 77 - To acquire adequate knowledge of the analysis and theory of form and laws of visual perception.

Learning outcomes

The kernel of the targets of the subject will have been the competitions acquisition on the part of the students it will have to have done emphasis on the learning methods of the above mentioned competitions and on the procedures to evaluate it the term(end) competition will have been used exclusively in your academic meaning, and not in your meaning of professional attribution there will be understood like valid result of the education the sense of the expression "competitions" as combination of knowledge, skills (intellectual, manual, social, etc.), attitudes and values to solve problems or to intervene in matters.

Syllabus

  1. Estilo y estilos:

    On what grounds may we establish the limits or extent of a style, and differentiate it from other styles? Sometimes the question is partially answered by social-historical phenomena, as in epochs when a new style is started abruptly to satisfy a new need (early Christian architecture) or terminated by disaster or acculturation (Aztec, Northwest Indian art); or when it is coextensive with a closed political or geographical unit (ancient Egypt). Most of Western art, however, from Greek antiquity to the present day is a great mega-style within which we attempt to find plausible subdivisions that help to clarify the historical process.

    Style is not the only framework within which historical process can be studied in the arts. Classes of works exemplifying a particular technique or a formal or symbolic convention reveal processes which may span several styles (e.g., the history of the dome, of perspective, of landscape painting, of the iconography of the Immaculate Conception). Another kind of framework is formed by the entire body of wor produced within an arbitrarily chosen span of time such as a decade, a century, or a political reign. But limits of this kind, which presume some special significance to mere contemporaneity, are less likely to prompt fresh perceptions than those suggested by criteria of style deduced from works of art themselves. The framework most highly favored by students of Renaissance and Modern art-the oeuvre of single artist-is subject to similar deficiencies. It has the apparent advantage that its limits are inexorably fixed by and that mortality, it normally is coextensive with a consistent personal style that behaves as a minuscule echo of larger styles. But the presumption of consistency in human beings is unwarranted; the life span of an individual can be as insensitive a measure of style as any arbitrarily chosen seg- ment of time. One artist or the artists of a century may adhere to a single style or shift from one style to another, and in our time such shifts are more the rule than the exception.

    We distinguish one style from another by noting differences in the use of conventions, materials, and techniques. We do this by referring to an image of the norms of a style as a whole-style in the stable sense; but the image does not help to determine chronological or geographical limits. We can define easily generic differences between a Gothic and a Renaissance statue without being able to specify the first works of Renaissance sculpture.

    This is because the creative process involved in contributing to the formation of a new style is not of a different order from other creative acts. Both radical and conservative artists choose what they want to retain and what they want to reject from their tradition and contribute something of their own. When the balance favors retention, styles survive; when it favors rejection, they dissipate-though they may flourish, particularly in the provinces, long after desertion by the adherents of a new current. Since the extinction of one style is neither the prerequisite for nor, necessarily, the result of the initiation of another, old and new styles may exist sideby- side and mutually influence one another; and several new ones may coexist even in the same locale: in Paris of the early twentieth century: Cubism, the Fauves, Futurism, etc.

     A style, then, may be thought of as a class of related solutions to a problem-or responses to a challenge-that may be said to begin whenever artists begin to pursue a problem or react to a challenge which differs significantly from those posed by the prevailing style or styles. It is easy to detect a "significant" difference when artists vigorously reject major features of a traditional style and consciously aim to eliminate them from their work (Carolingian and Renaissance architecture, most early twentieth-century movements); but the distinction is quite unclear when the inventions of an artist who thinks of himself as a faithful bearer of tradition become the nucleus of a wholly new style, and one style flows into another without perceptible deflections. I think of Giotto and Duccio in this category; they represent the flowering of the late Middle Ages and/or the origins of the Renaissance, according to the historian's needs-to his definition of what is significant. (Ackerman, James S. "A theory of style." Journal of aesthetics and art criticism (1962): 227-237.(p. 235-236).

  2. Clasicismo

    1. Lo clásico griego

    2. Un clásico dentro de su estilo

    3. Arquitectura “vintage”

  3. Esteticismo

    1. Lo Barroco y el Barroco: caracterizaciones

    2. El horror al vacío y sus derivaciones

    3. Ornamento y elegancia

  4. Eclecticismo

    1. Estilo e Historia

    2. El poder de la mezcla

    3. El arquitecto “hortera”

  5. Conclusiones

    We usually perceive the style or the sadness of a picture or a poem without being able to analyze either property into elements or specify necessary and sufficient conditions for it. Just for this reason, the perception when achieved increases the dimensions of our comprehension of the work. And the less accessible a style is to our approach and the more adjustment we are forced to make, the more insight we gain and the more our powers of discovery are developed. The discernment of style is an integral aspect of the understanding of works of art. Goodman, Nelson. "The status of style." Critical Inquiry 1, no. 4 (1975): 799-811.p. 811

Teaching and learning activities

In person

Lecciones magistrales de 90 minutos los jueves

Análisis de fachadas y ejercicios de representación los lunes

TRAINING ACTIVITYCOMPETENCESECTS CREDITS
Class exhibition
40 48 50 51 53 54 55 57 66 67 68 69 75 76 77 1,15
Clase practice
40 48 50 51 53 54 55 57 66 67 68 69 75 76 77 1,34
Individual or group study
40 48 50 51 53 54 55 57 66 67 68 69 75 76 77 2,5

Evaluation systems and criteria

In person

40% final exam 1 exercise of 1 A4 extension (5 points) + comentary on 2 images (1 A4 side) (2,5+2,5 puntos). Total, 120 minutes, 10 points

40% final exercise of representation 60 minutes

20% attendance, punctuality and involvement in lectures.

Bibliography and resources

Sobre la noción de Estilo(s):

Ackerman, James S. "A theory of style." Journal of aesthetics and art criticism (1962): 227-237

Anderson, Stanford. "Critical conventionalism in architecture." Assemblage (1986): 7-23.

Goodman, Nelson. "The status of style." Critical Inquiry 1, no. 4 (1975): 799-811.

Hastings, Thomas. "The Evolution of Style in Modern Architecture." The North American Review (1910): 195-205.

Kornwolf, James D. "High Victorian Gothic; Or, The Dilemma of Style in Modern Architecture." The Journal of the Society of Architectural Historians (1975): 37-47.

Sankovitch, Anne-Marie. "Structure/Ornament and the Modern Figuration of Architecture." The Art Bulletin 80, no. 4 (1998): 686-717.

Scully, Vincent. "Modern Architecture: Toward a Redefinition of Style." Perspecta (1957): 4-11.

Taylor, Mark C. "Nuclear Architecture or Fabulous Architecture or Tragic Architecture or Dionysian Architecture or." Assemblage (1990): 6-21.

Sobre Clasicismo y arquitectura

Ciucci, Giorgio, and Jessica Levine. "The Classicism of the E 42: Between Modernity and Tradition." Assemblage (1989): 79-87.

Crespo, Raúl Arnaldo Gómez, and Alfonso Corona Martinez. "Principles of Classical Composition in Architecture and Urban Design." JAE (1982): 24-25.

McCarthy, Michael. "Documents on the Greek Revival in Architecture." The Burlington Magazine (1972): 760-769.

Rosenau, Helen. The Engravings of the Grands Prix of the French Academy of Architecture. Society of Architectural Historians of Great Britain at the Inst. of Advanced Architectural Studies, 1960.

Schumacher, Thomas L. "Terragni and Classicism: Fence Sitting at the Barricades." Journal of Architectural Education 41, no. 4 (1988): 11-19.

Zerner, Henri. "Classicism as Power." Art Journal (1988): 35-36.

Sobre Esteticismo y arquitectura

Castelli, Enrico, and Corrado Bologna. Il demoniaco nell'arte: il significato filosofico del demoniaco nell'arte. Vol. 166. Bollati Boringhieri, 2007.

D’Ors, Eugenio. "Lo Barroco (1924)." Madrid: Aguilar (1964).

Dennis, James M., and Lu B. Wenneker. "Ornamentation and the Organic Architecture of Frank Lloyd Wright." Art Journal (1965): 2-14.

Dorfles, Gillo, Gillo Dorfles, Gillo Dorfles, and Gillo Dorfles. Barocco nell'architettura moderna. Tamburini, 1951.

Kunze, Donald. "Architecture as Reading; Virtuality, Secrecy, Monstrosity." Journal of Architectural Education 41, no. 4 (1988): 28-37.

Sobre Eclecticismo y arquitectura

Smith, Thomas Gordon. "Re-Drawing from Classicism." Journal of Architectural Education 32, no. 1 (1978): 18-23.

Sola-Morales, Ignasi.de "The Origins of Modern Eclecticism: the theories of Architecture in early nineteenth century France." Perspecta (1987): 120-133.

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