Analyze critically and study the artistic, architectural and urban most relevant manifestation from Prehistory to the Renaissance, complementing projective training of students, due that knowledge and understanding is a valuable tool to stimulate creativity.
Relate the compositional, constructive and functional problems solving, in the history of ancient and modern architecture to the present.
Integrate the contents of the subject across with those provided by other matters.
Gather information about literature and graphic contents of the subject and display their results in a scientific way.
Knowing Spanish art and architecture from antiquity to the sixteenth century, to ensure comprehensive and critical understanding of the past and present reality in which these studies are geographically framed.
Know and understand the great artistic, architectural and landscape of Western culture and its foundations, in order to enrich the possibilities reviews, expressive and projective.
Properly assimilate general theories of form, composition and architectural style, embedded in cultural and social context.
Knowing enough aesthetics, theory and history of the fine arts and applied arts, embedded in cultural and social context.
Develop a practical methodology of analysis and critique, to recognize, assess and interpret the facts of art, architecture and urban through individualized critical commentary of selected works proposed architecture in the historic area studied.
Convey ideas through exposure modeling and oral language skills in a self-critical and critically discuss.
Oral presentations of theoretical foundations, accompanied with images that illustrate the artistic reflection and analysis, architectural and urban, which is intended for students to acquire a thorough understanding of the significant works of architecture from prehistory to the sixteenth century.
The program is organized into four main blocks:
3) Middle Ages
These blocks are subdivided into eleven themes that run through the art and architecture from prehistoric times to the Renaissance, with an introduction by way of concept art lexicon, to continue exposing evolutionarily different artistic stages of the history, especially focusing on Western civilization, although there are references to other cultures. It will be exposed with constant flux from past to present and vice versa, meaning that the teaching of history cannot be an isolated blocks, but a flow that helps us understand the present and put the look into the future.
Integrate and collaborate actively with other people, areas and / or organizations to achieve common goals.
Recognize and accept the consequences of an act done freely.
Propose and develop new and original solutions that add value to problems even different areas of the problem himself.
Set goals and choosing the means to achieve them, using time and resources in an effective way.
Interact positively with others through assertive communication, expressing or transmitting what we want, what we think or feel without disturbing, assaulting or hurting the feelings of the other person.
Think and act according to universal principles based on the value of the person that target their full development and entails a commitment to certain social values.
Transmit and receive data, ideas, opinions and attitudes to achieve understanding and action.
Rate our own results, performance and capabilities with the inner conviction that we are capable of doing things and the challenges facing us.
1.- CONCEPTS OF ART.
Technical and artistic terms. Architecture: materials, supports, covers, vaults, modulation. Sculpture, painting, minor arts.
2.- PREHISTORIC ART.
Upper Paleolithic: sculpture and mobile art. Mesolithic and Neolithic: dolmen architecture. The Bronze Age. The Iron Age.
3.- PRECLASSIC WORLD: EGYPT AND MESOPOTAMIA.
Egypt tombs and temples. Egyptian sculpture in the round and in relief, stylization and realism. Sumer, Chaldea, Assyria, Hittites and Persians.
4.- OTHER NON-WESTERN CULTURES AND CIVILIZATIONS.
India, China and Japan. The art in pre-hispanic America: Mexico, Peru.
The pre-Hellenic art: Troy, Crete and Mycenae. The classical orders. The temple and public buildings. Greek sculpture: archaic, classical and hellenistic. Myron and Polykleitos. The Greek pottery.
Etruscan art. Building materials. Arch and vault. Temples and memorials. The new architectural typologies: basilicas and baths, amphitheaters and circuses, aqueducts and bridges. The house and the city. The Roman treatises: Vitruvius. Roman architecture in Spain. Roman sculpture: portrait and historical importance. The painting and mosaic.
7.- BYZANTINE AND EARLY CHRISTIAN ART.
The early christian basilica. Mosaic, textiles and metalwork. Visigothic and preromanesque art in Spain: Ramirense monuments. Moorish architecture.
Muslim architecture: the mosque. Hispanic-arabic art: caliphate, taifa, almohad and nasrid almoravids. The Alhambra in Granada and the garden. Moorish art and brick.
The column, the cruciform column and footboard. The problem of the vault. The doorway and window decoration. The temple and monastery: the Cluniac. Romanesque architecture in Spain: the way and the Cathedral of Santiago. The constants iconographic sculpture. The mural in Catalonia.
Religious architecture: the ribbed vault and the arch, pillars and buttresses. The French and the first Cistercian Gothic cathedrals. The military and civil architecture. The figure of the architect. Sculpture and Trecento Italian paintings. Burgundian and Flemish sculpture. The evolution of the Gothic in Spain. The Elizabethan style.
11.- THE RENAISSANCE.
Quattrocento Florentine architecture: Brunelleschi. Leo Battista Alberti and treatises. The Cinquecento Italian architecture: Bramante, Sangallo and Michelangelo. Vignola and Palladio. Villas and gardens in Florence and Rome. Italian Sculpture: Donatello and Michelangelo. Italian painting: Giotto, Fra Angelico, Leonardo da Vinci, Raphael and Michelangelo. Italian painting, Flemish and Dutch. Renaissance architecture in other European countries. The Spanish Renaissance: from the plateresco style to El Escorial.
1) Reading of texts in Spanish and English on the subject and in relation to the eleven subjects that the course is organized and individually developing a comprehensive synthesis of the key concepts and critical analysis. At least two of them will be a tip to work in the classroom, both individually and in teams of 3/4 students.
2) Work to do on teams of 3/4 students, which will include two bibliographic architectural and urban issues, with Madrid as reference and the period of the material worked as chronological limit. The academic activities also include the study, reflection, oral presentation of the results in the classroom the other teams, illustrated with diagrams, pictures, and subsequent discussion.
3) Visits to buildings and urban projects of the period studied in Madrid or in their environment and individual preparation of a summary thereof notebook with notes, annotations, drawings, photographs, etc.
The evaluation is planned as a continuous assessment, structured in two midterms, to be convened in May and June, and practical work to develop throughout the quarter.
To pass the course you need to get a score equal to or greater than 5/10 and the result is established by the average of the partial evaluation, adding the result of practical work. The grade of the two theoretical examinations will add up to 7 points, 3.5 each partial, and practical work up to 3 points. To pass the subject is necessary to pass the theoretical part, and therefore each of the exams, and the practical part, through various group and individual activities.
The exams will focus on the material studied to date of the call and will be specified in the form of questionnaire with questions about buildings and architects analyzed in lectures, features and considerations of architectural movements and periods treated, etc.
Students having followed the course regularly (> 70% attendance) and not obtaining the required score to pass the exam session, shall be submitted to the extraordinary call to retrieve the section of the course is not passed during the ongoing collective phase or individual, whose works can be delivered again reworked on exam date.
Students not having followed the course regularly (<70% support) and not obtaining the required score to pass the exam session, but wish to apply for the extraordinary date must pass a theory test on the material covered to pass the course.
ALONSO PEREIRA, José Ramón: Introducción a la historia de la arquitectura. De los orígenes al siglo XXI. Barcelona: Reverté, 2005.
ANGULO ÍÑIGUEZ, Diego: Historia del arte. Madrid: Raycar, 1982, tomos I y II.
BENEVOLO, Leonardo: Introducción a la arquitectura. Madrid: Celeste, 1994.
CHUECA GOITIA, Fernando: Breve historia del urbanismo, Madrid: Alianza, 2001.
CHUECA GOITIA, Fernando: Historia de la arquitectura española. Ávila: Fundación Santa Teresa y Colegio Oficial de Arquitectos de Madrid, 2001, vols. I y II.
CHUECA GOITIA, Fernando: Historia de la arquitectura occidental. De Grecia al Islam. Madrid: Seminarios y Ediciones, 1974.
CHUECA GOITIA, Fernando: Historia de la arquitectura occidental. Renacimiento. Madrid: Dossat, 1984.
FARIELLO, Francesco: La arquitectura de los jardines. Madrid: Mairea y Celeste, 2000.
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GOMBRICH, Ernest H: La historia del arte. Madrid: Debate, 2006.
HEGEL, G. W. F: Introducción a la estética. Barcelona: Península, 1990.
KOSTOF, Spiro: A history of architecture. Settings and rituals. Oxford University Press, 1985, 1995.
MARTÍN GONZÁLEZ, Juan José: Historia del arte. Madrid: Gredos, 2010, vols. I y II.
PEVSNER, N., FLEMMING, J. y HONOUR, Hugh: Diccionario de arquitectura. Madrid: Alianza Diccionarios, 1975.
RAMÍREZ, Juan Antonio: Historia del arte. Madrid: Alianza Editorial, 2005.
RASMUSSEN, Steen Eiler: La experiencia de la arquitectura. Madrid: Reverte, 2004.
SUMMERSON, John: El lenguaje clásico de la arquitectura: de L. B. Alberti a Le Corbusier. Barcelona: Gustavo Gili, 1994.
TAFURI, Manfredo: Teoría e historia de la arquitectura. Barcelona: Editorial Laia, 1972.
THUILLIER, Jacques: Teoría general de la historia del arte. México: Fondo de Cultura Económica, 2006.
WARE, D. y BEATTY, B.: Diccionario manual ilustrado de arquitectura. Barcelona: Gustavo Gili, 2010.
ZEVI, Bruno: Saber ver la arquitectura. Barcelona: Apóstrofe, 1998 (1ª ed. 1948).