2013-2014 Academic Year
20th-Century Art
Degree/study: Degree in Humanities
Year: 3rd - 4th
Term: 1st
Number of ECTS credits: 5
Hours of student dedication:
Teaching language or languages: Catalan
Teaching Staff: Anna Pujadas Matarín [email protected]
1. Presentation of the subject
Study of the fundamental principles and the most relevant historical episodes, as well as of the main schools, with their most remarkable representatives, of the diverse art genres in the 20th century.
2. Competences to be attained
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General competences |
Specific competences |
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•1. INTRUMENTAL SKILLS Understanding and interpreting in an appropriate and well-reasoned fashion written academic texts. Being able to justify with solid arguments one's own positions, as well as to defend them in front of an audience. •2. PERSONAL SKILLS Developing autonomous reasoning skills with an analytical distance to controversial topics or issues. Accepting opinion diversity as a fundamental ingredient to academic life and as an integral part of contemporary society, and being able to express one's opinions within the respect to differing opinions. •3. 3. SYSTEMIC SKILLS Having a developed sense of curiosity and a wish for knowing the unknown, essential in any formative process and in any professional activity with some prospects. Being able to apply, flexibly and creatively, the acquired knowledge and to apply it to new contexts and situations. Being able to progress autonomously and continually in the training and learning processes. |
•4. 1. DISCIPLINARY KNOWLEDGE •5. Briefly knowing, situating and interpreting the main artistic works and schools (music and cinema included) throughout History, with a special consideration to the modern and contemporary world. •6. •7. An approximation to first-hand knowledge of the main textual or iconographic documentary sources used to develop the previous knowledge. •8. •9. Knowing and managing monographic studies and substantial bibliography for a well-reasoned interpretation of the subject. •10. •11. 2. PROFESSIONAL SKILLS •12. Being able to interpret written texts, iconographic evidence, statistical data and cartographic documents in a well-reasoned and competent fashion, with the prospect of writing an appropriately justified personal opinion.
Being able to relate to each other information and documents of a varied nature and proceeding from different specialities with a transversal and integrating perspective.
3. ACADEMIC SKILLS Recognising the value of the human artistic and cultural patrimony, both of a universal and of a local nature, as well as the need to preserve and promote it.
Being aware of the transversal nature of knowledge and of the convenience of transcending the borders between academic specialities, and in particular the need to get over the division between the so-called two cultures, Humanities and Science.
Becoming aware of the need to proceed to a constant revision and updating of one's own knowledge. •4. BASIC SKILLS Demonstrating to have knowledge of a study field which includes not only with advanced-level text books but also knowledge from the avant-garde of research. Being able to gather and interpret relevant data (usually within a study field) for the formulation of judgements that include a reflection on social, scientific or ethical issues. |
3. Contents
ARCHITECTURE
1. THE VITAL 'ÉLAN'
1.1 Architecture 'Art Nouveau'. Impressionism in The Organic. Horta and the coup de fouet. Van de Velde and the complementary line. Guimard and Naturalism. Brick Rationalism. Berlage and the Beurs van Berlage. Mackintosh and the Glasgow School of Art. Otto Wagner, Josef Hoffmann and Joseph Maria Olbrich: end of century Viena. 1.2. Parallel USA: Louis Sullivan and the Chicago school. Frank Lloyd Wright and Organic Architecture.
2. SUBJECTIVE EXPRESSION
2.1. Expressionist Architecture. Hermann Muthesius and the Deutscher Werkbund. Adolf Behne and the Arbeitsrat für Kunst. Hans Poelzig and the gothic ideals. Rudoph Steiner and the Goethanum. Bruno Taut and the Glâserne Kette. Eric Mendelsohn and the Einstein Tower. Hugo Häring and the CIAM debate (1928).
3. AESTHETIC REASON
3.1. Functionalism and Rationalism. Adolf Loos and Ornament. Peter Behrens and the AEG Factory. Walter Gropius and the Bauhaus School. De Stijl Architecture: Van Doesburg, J.j. P. Oud, Van Eestern and G. Rietveld. Ludvig Mies van der Rohe and the Barcelona Pavilion. Le Corbusier and the Ronchamp.
4. THE SET
4. 1. Postmodern architecture. Nihilism and existentialism. Tradition and history. Communicative and commercial architecture. Venturi and Graves 4.2. Lightness construction. Minimalism. The weightlessness and uncertainty. The architecture of the "90". Jean Nouvel. Toyo Ito. Frank O'Ghery.
5. INTERACTION
5.1. Architecture blurred. Toyo Ito. Biomimetic architecture. Dennis Dollens, R (&) Sie, Enric Ruiz-Geli. The mediafacades. 5.2. Real-time architecture. Kas Oosterhius and programmable architecture.
*The full version with the sections 4. Assessment, 5. Bibliography and teaching resources, 6. Methodology, and 7. Planning of activities is available in the original version.