GRADUATE SCHOOL
M.SC. In Architecture (With Thesis)
ARCH 552 | Course Introduction and Application Information
| Course Name |
Intersections of Pictorial Art and Architectural Space
|
|
Code
|
Semester
|
Theory
(hour/week) |
Application/Lab
(hour/week) |
Local Credits
|
ECTS
|
|
ARCH 552
|
Fall/Spring
|
3
|
0
|
3
|
7.5
|
| Prerequisites |
None
|
|||||
| Course Language |
English
|
|||||
| Course Type |
Elective
|
|||||
| Course Level |
Second Cycle
|
|||||
| Mode of Delivery | - | |||||
| Teaching Methods and Techniques of the Course | - | |||||
| Course Coordinator | - | |||||
| Course Lecturer(s) | - | |||||
| Assistant(s) | - | |||||
| Course Objectives | To explore the intersections of architectural space and representational space of pictorial art and to broaden student’s interdisciplinary outlook on some crucial concepts of contemporary architecture. |
| Learning Outcomes |
The students who succeeded in this course;
|
| Course Description | This course explores the intersectional territory of pictorial art and architectural space by means of their common theoretical basis and interrelated practices. This intersection nurtures the distinct territories of different disciplines in return. The explorative journey throughout the course includes a variety of historical periods from the Renaissance to the twentyfirst century and concentrates on selected examples. |
|
|
Core Courses | |
| Major Area Courses |
X
|
|
| Supportive Courses | ||
| Media and Management Skills Courses | ||
| Transferable Skill Courses |
WEEKLY SUBJECTS AND RELATED PREPARATION STUDIES
| Week | Subjects | Related Preparation |
| 1 | Introduction | |
| 2 | Intersectional Space | Michel Foucault. “Las Meninas.” In The Order of Things, pp. 118. |
| 3 | Architecture in Miniature and Illuminated Manuscripts | Ingo F. Walther and Nerbert Wolf. “Manuscript Illumination in the West (extracts)” In Masterpieces of Illumination, pp. 1142. . “Manuscript Illumination outside Europe (extracts). In Masterpieces of Illumination, pp. 4348. |
| 4 | Spatial Continuity | John T. Paoletti and Gary M. Radke. “The Scrovegni (Arena) Chapel.” In Art in Renaissance Italy, pp. 8284. . “The Trinity and the Single Point Perspective.” In Art in Renaissance Italy, pp. 203205. |
| 5 | Architectural Space in Painting | Leon Battista Alberti. On Painting (extracts). Sigfried Giedion. “The New Space Conception: Perspective.” In Space, Time and Architecture, 3041. |
| 6 | Painting in Architecture | Marin Contarini. “Finishing Touches.” In Art in Renaissance Italy, p. 175. “The Laurentian Library.” In Art in Renaissance Italy, p. 337338. Henrich Wölflin. Principles of Art History (extracts), pp. 6272. |
| 7 | Spatial Illusions | René Descartes. “Optics.” In The Visual Culture Reader, pp. 6065. William W. Dunning. Changing Images of Pictorial Space (extracts). |
| 8 | The Dream of the Architect | Giovanni Battista Piranesi. “Observations on the Letter of Monsieur Mariette.” In Architectural Theory V. 1, pp. 178184. Sergei M. Eisestein. “Piranesi, or the Fluidity of Forms.“ In The Sphere and the Labyrinth, pp.6590. |
| 9 | As it Really is | Gustave Courbet. “Statement on Realism.” In Art in Theory, p. 372. . “Letter to Young Artists.” In Art in Theory, pp. 402403. Émile Zola. “Edouard Manet.” In Art in Theory, pp. 554564. |
| 10 | Flatness | Rosalind Krauss, Optical Unconscious (extracts). Peter Eisenman, “L’ora Che é Stata.“ In Written into the Void, pp. 113119. |
| 11 | “Paint on the Canvas” | Oscar Wilde. “The Decay of Lying (extracts).” In Art Theory and Criticism, pp. 125. Anthony Vidler. “Bodies (extracts).” In The Architectural Uncanny, pp. 69166. |
| 12 | Modern Visionaries | Clement Greenberg. “AvantGarde and Kitsch (extracts).” In Art Theory and Criticism, pp. 2640. Frank Stella. “Caravaggio (extracts).” In Art Theory and Criticism, pp. 24363. Peter Eisenman. “Vision’s Unfolding: Architecture in the Age of Electronic Media.“ In Written into the Void, pp. 3441. Neil Spiller. “War and Relativity in the Age of Memorial Mechanics.” In Visionary Architecture, pp. 16481. |
| 13 | Superimposition in Digital Space | Greg Lynn. “Architectural Curvilinearity: The Folded, the Pliant and the Supple.” In Architectural Theory V. 2, pp. 54344. Char Davies. “OSMOSE: Notes on Being in Immersive Virtual Space.” In Digital Creativity, pp. 101110. Neil Spiller. “Soft Machines and Virtual Objects.” In Visionary Architecture, pp. 20221. |
| 14 | Origin | Martin Heidegger. “The Origin of the Work of Art.” In The Art of Art History, pp. 41326. Jacques Derrida. “Restitutions of the Truth in Pointing (extracts).” In The Art of Art History, pp. 43249 |
| 15 | Presentations | |
| 16 | Review |
| Course Notes/Textbooks | Alberti, Leon Battista. On Painting. Trans. John R. Spencer. New Haven; London: Yale University Press, 1956. Beardon, Colin and Lone Malmborg. Digital Creativity: A Reader. Meppel: Swets and Zettlinger, 2002. Dunning, William W. Changing Images of Pictorial Space: A History of Spatial Illusion in Painting. New York: Syracuse University Press, 1991. Descartes, René. “Optics.” In The Visual Culture Reader. Ed. Nicholas Mirzoeff, pp. 6065. London; New York: Routledge, 1998 Eisenman, Peter. Written into the Void: Selected Writings 19902004. China: World Print, 2007. Everett, Sally. Art, Theory and Criticism: An Anthology of Formalist, AvantGarde, Contextualist and PostModernist Thought. North Carolina: McFarland, 1991. Foucault, Michel. “Las Meninas.” In The Order of Things, pp. 118. London, New York: Routledge, 2002. Giedion, Sigfried. Space, Time and Architecture: The Growth of a New Tradition. Cambridge, Mass: MIT, 1941, 1949, 1954, 1962, 1967, 1969, 1977, 1982. Harrison, Charles, Paul Wood and Jason Gaiger, eds. Art in Theory, 18151900. Oxford, UK: Blackwell, 1998. Krauss, Rosalind, Optical Unconscious. Cambridge, Mass: MIT, 1994. Mallgrave, Harry Francis and Christina Contandriopoulos. Architectural Theory: An Anthology From 1871 to 2005. V 2. Malden; Oxford, UK: Blackwell, 2008. Paoletti, John T. and Gary M. Radke. Art in Renaissance Italy. London: Laurence King Publishing, 1997. Preziosi, Donald. The Art of Art History: A Critical Anthology. Oxford; New York: Oxford University Press, 1998. Spiller, Neil. Visionary Architecture: Blueprints of the Modern Imagination. London: Thames and Hudson, 2006. Tafuri, Manfredo. The Sphere and the Labyrinth: AvantGardes and Architecture from Piranesi to the 1970’s. Trans. Pellegrino d’Acierno and Robert Connolly. London; Cambridge, Mass: MIT, 1990. Anthony Vidler. The Architectural Uncanny. Cambridge, Mass: MIT Press, 1992. Walther, Ingo F. and Nerbert Wolf. Masterpieces of Illumination. Hong Kong; Köln, etc: Tachen, 2005. |
| Suggested Readings/Materials | PerezGomez Alberto and Louise Pelletier. Architectural Representation and the Perspective Hinge. Cambridge, Mass: MIT Press, 1997, 2000. |
EVALUATION SYSTEM
| Semester Activities | Number | Weigthing |
| Participation | ||
| Laboratory / Application | ||
| Field Work | ||
| Quizzes / Studio Critiques | ||
| Portfolio | ||
| Homework / Assignments | ||
| Presentation / Jury |
1
|
30
|
| Project |
1
|
40
|
| Seminar / Workshop | ||
| Oral Exams | ||
| Midterm | ||
| Final Exam |
1
|
30
|
| Total |
| Weighting of Semester Activities on the Final Grade |
70
|
|
| Weighting of End-of-Semester Activities on the Final Grade |
30
|
|
| Total |
ECTS / WORKLOAD TABLE
| Semester Activities | Number | Duration (Hours) | Workload |
|---|---|---|---|
| Theoretical Course Hours (Including exam week: 16 x total hours) |
16
|
3
|
48
|
| Laboratory / Application Hours (Including exam week: '.16.' x total hours) |
16
|
0
|
|
| Study Hours Out of Class |
15
|
7
|
105
|
| Field Work |
0
|
||
| Quizzes / Studio Critiques |
0
|
||
| Portfolio |
0
|
||
| Homework / Assignments |
0
|
||
| Presentation / Jury |
1
|
20
|
20
|
| Project |
1
|
40
|
40
|
| Seminar / Workshop |
0
|
||
| Oral Exam |
0
|
||
| Midterms |
0
|
||
| Final Exam |
1
|
12
|
12
|
| Total |
225
|
COURSE LEARNING OUTCOMES AND PROGRAM QUALIFICATIONS RELATIONSHIP
|
#
|
Program Competencies/Outcomes |
* Contribution Level
|
||||
|
1
|
2
|
3
|
4
|
5
|
||
| 1 | To be able to advance specialized architectural knowledge based on qualifications acquired at the undergraduate level. |
X | ||||
| 2 | To be able to conceive the interdisciplinary nature of the architectural field and apply such knowledge and analytical capacity to interdisciplinary studies. |
X | ||||
| 3 | To be able to apply specialized knowledge in architecture in theoretical or practical work. |
X | ||||
| 4 | To be able to produce new knowledge by integrating architectural knowledge with knowledge in other disciplines. |
X | ||||
| 5 | To be able to diagnose and evaluate a specific problem in architecture and to relate this ability to publishing or practice. |
X | ||||
| 6 | To be able critically evaluate knowledge peculiar to the architectural field, facilitate self-directed learning and produce advanced work independently. |
X | ||||
| 7 | To be able to communicate contemporary developments in architecture and one’s own work in professional and interdisciplinary environments in written, oral or visual forms. |
X | ||||
| 8 | To be able to consider, control and communicate social, scientific and ethical values in the accumulation, interpretation, publication and/or application of architectural data. |
X | ||||
| 9 | To be able to critically analyze the norms that inform spatial relationships and their social implications and to develop original thesis according to guidelines. |
X | ||||
| 10 | To be able to keep up with developing knowledge in Architecture and participate in academic and professional discussions using at least one foreign language. |
X | ||||
*1 Lowest, 2 Low, 3 Average, 4 High, 5 Highest