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İzmir Ekonomi Üniversitesi

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    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 -
    National Occupation Classification -
    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;

    • The student will be able to critically analyze the historical relation between representational and architectural space.
    • The student will be able to explain the changes in architectural space with a distinct relationship to the pictorial representation that includes a variety of historical periods from Renaissance to present.
    • The student will eb able to know about the debate of “the origin of the work of art,” and to improve a critical look on this debate from an architectural point of view.
    • The student will eb able to analyze the importance of digital space and virtual reality in terms of the relation between representational and architectural space.
    • The student will be able to interpret architectural production within the broader context of artistic creation.
    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.

     



    Course Category

    		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 Learning Outcome
    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

    #
    		 PC Sub 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

     

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