Programma

The course consists of 6 credits of Drawing and 2 credits of Digital Representation, which will be closely integrated for the management of the design for the architectural project.
The aim is to lay the foundations for the theoretical and applied knowledge of analog graphic design and digital drawing for the elaboration of the architectural project, accompanied by a path of knowledge for the representation of places and architecture built in the past.

Goals
The course aims to participate, through the representation of architecture to the development of the following skills:
• Knowing and managing the grammar and syntax of graphic representation
• Knowing how to manage the graphic process of the design (in a traditional and digital way)
• Know how to make a graphic analysis of a work of architecture
• Representing architecture and its concept and the themes to which it is linked in an abstract and non-figurative way with diagrammatic representations.

Methodological approach:
The course contents will be developed according to lectures, specific seminars with external guests, laboratory forms, outdoor teaching, classroom work and at home.
Specific topics subject of lectures on which the exam will focus:

1. What Architectural Design is for: reflections on gaze and images

2. The design of classical orders. A first semantic model for architecture. Five easy pieces by R. Migliari (journal extract). This topic is connected. The tools of drawing: how did the ancients draw?

3. The graphic analysis for the knowledge of the architectural work. To be applied to the theme provided by the teacher. (dispensation)
Models in architecture: the idea, the analog representation (physics and graphics), the digital
- Particular attention will be given to the history of model representation and the transition from analogue to digital.
- Representation by similarity to reality and by abstraction: from figurative to abstract

5. The design of the Masters: the values of the design between rule and graphic artifice. Graphic techniques, methods and objectives of representation (chap. book and handouts). Overview of architecture archives.
6. Visual perception and communication. The elements, grammar and syntax of representation. Point, line, surface, structures, textures, formal laws and graphic composition. (chap. and pantry)
Modelli in architettura: l'idea, la rappresentazione analogica (fisica e grafica), il digitale
- Particolare attenzione sarà data alla storia della rappresentazione del modello e al passaggio dall'analogico al digitale.
- Rappresentazione per somiglianza con la realtà e per astrazione: dal figurativo all'astratto

5. Il design dei Maestri: i valori del design tra regola e artificio grafico. Tecniche grafiche, metodi e obiettivi di rappresentazione (cap. libro e dispense). Panoramica degli archivi di architettura.
6. Percezione visiva e comunicazione. Gli elementi, la grammatica e la sintassi della rappresentazione. Punto, linea, superficie, strutture, texture, leggi formali e composizione grafica. (cap. e dispensa

Testi Adottati

Bibliografia (Corso e modulo)

1. Canciani, Marco. I disegni di Progetto. Costruzioni tipi e analisi. Roma: Città Studi, 2009
2. Architectural Graphic Standards / Student edition /Hedges ; link al catalogo SBA di Ateneo
3. Cervellini, Franco, Partenope, Renato (a cura di). Franco Purini. Una Lezione sul disegno. Roma: Gangemi editore
4. Docci, Mario, Maestri, Diego. Manuale di rilevamento architettonico e urbano. Roma: Laterza, 1994
5. Docci, Maestri, Chiavoni, Emanuela. Saper disegnare l’architettura. Roma: Laterza, 2017
6. De Carlo, Laura e Paris, Leonardo. Le linee curve per l'architettura e il design. Roma: Franco Angeli, 2019
https://www.francoangeli.it/Ricerca/scheda_libro.aspx?id=25781
7. De Fiore, Gaspare. Corso di disegno. Roma: Fabbri editore, 1983
8. Farroni, Laura. L'arte del disegno a Palazzo Spada. Roma: De Luca editori d'arte. 2019
9. https://www.academia.edu/4746450/Disegno_come_Modello_Drawing_as_Model_

10. Fasolo, Vincenzo. L’analisi grafica dei valori architettonici. Roma

11. Migliari, Riccardo. Il disegno degli ordini
http://www.descriptivegeometry.eu/0_dati/pdf/Migliari/1991_Disegno_ordini.pdf

Bibliografia Di Riferimento

Archivi di disegni online Accademia di San Luca https://www.accademiasanluca.eu/it Centro studi Giorgio Muratore https://archiwatch.it/cartoline-purini/ FFMAAM Fondo Francesco Moschini A.A.M. Architettura Arte Moderna http://ffmaam.it/collezione.php http://ffmaam.it/collezione/franco-purini#franco-purini Archivio disegni Giovanni Michelucci http://db.michelucci.it/archivi/disegni/?opera=NC02&project=on&check=on MAXXI http://www.maxxi.art/centro-archivi/ http://inventari.fondazionemaxxi.it/AriannaWeb/main.htm;jsessionid=31E5D901C611A7B4AA5D5D5BF563D980#553085_archivio Archivi degli architetti http://www.architetti.san.beniculturali.it/web/architetti/portale/portale

Modalità Erogazione

oral teaching lessons, exercises on the specific topics addressed , case study analysis (individual work), conference online. In the event of an extension of the health emergency from COVID-19, all the provisions that regulate the methods of carrying out the teaching activities and student assessment will be implemented. In particular, the following methods will apply: Moodle platform of the architecture drawing course channel A (https://architecture.el.uniroma3.it/course) for course enrollment, teacher communication, on-going directions, and teaching materials online teaching lessons live on the TEAM platform as per the official calendar (the connection must take place 10 minutes before) exercises on the specific topics addressed (online laboratory, with screen sharing of the teacher and students), case study analysis (online and individual work) ftp site of the teacher for teaching materials and delivery of exercises access to the platform is to be assigned (team group name DRAWING OF CHANNEL_ARCHITECTURE A)

Modalità Frequenza

The frequency is mandatory for 75% of the lessons.

Modalità Valutazione

exercises admired in itinere on the specific topics covered in the lessons ( pdf), final graphic tables relating to (ANALOGIC AND pDF): survay drawings, technical drawing for the architectural project, drawing for the communication of the architectural project, final oral test In the event of an extension of the health emergency from COVID-19, all the provisions that regulate the methods of carrying out the teaching activities and student assessment will be implemented. In particular, the following methods will apply: remote mode: exams on the Teams platform, following delivery of digital and analog drawings on Onedrive (pdf) (ongoing exercises and final digital tables). The delivery of the documents is expected one week before the date of the round. Oral exam on the topics of the course and on the assigned texts.

Programma

Drawing proposes itself as a quest for an individual aesthetics, one which is subjective, which is one’s own and in some sense unique; and hence a conquest of one’s own autonomy, of one’s own freedom of expression. Graphic operations have, as a matter of fact, the quality of indissolubly marrying execution techniques, understood as manual operability, and abstract thought. From this marriage flows the exceptional condition of drawing as concerning all of the arts, and in some way as well, the multidisciplinarity of its teachings which run through all of the professional training or university degrees in the creative disciplines. Drawing should be understood, in keeping with its most ancient academic traditions, as a project metalanguage (shared amongst the arts), namely how to know that which concerns the figurative dimension - and hence communicative (representative) of architectonic construction. Learning how to draw contributes, in the didactic process, to the formation of a precise figurative culture of architecture and is inescapably situated between design and history. This course proposes to deepen, to experiment with techniques of representation, aimed at the knowledge, reading, direct surveying, analysis, and conception of architecture. One shall not be able to draw flawlessly in the little time at our disposal; the practice of drawing and the learning of this is an absorbing and constant effort which one must do on one’s own and which should accompany us throughout our entire life; the course shall however seek to lay the groundwork which shall allow you to understand and strengthen your own expressive modalities through drawing: and to apply the various techniques, thanks to the direct and practical indications given during the supervised practice sessions, by means of the study, observation and the redrawing of the emblematic cases of both classical as well ascontemporary architecture and art. Through these practice sessions, the definition of your own graphic expressivity shall be furthered, thus helping you to grasp how crucial drawing is in order to express your own ideas as well as for the project. Studying texts dedicated to the masters of architecture, from
Palladio to Aldo Rossi, from Leonardo to Le Corbusier, our running from sketches to the more aseptic computerized renderings, is a kind of knowledge, which is absolutely indispensable for the architect in order to carry out the precise rendering of his or her own ideas. That architecture is learnt and communicated by drawing architectures is for all intents and purposes obvious, but not at the same time the consciousness of drawing as the expression of the mind and soul. The first part of the course shall therefore deepen knowledge of free hand drawing, a procedure which alludes to the past but which has also has illustrious contemporary admirers, and a particular space shall be dedicated to drawing from reality, to the sketches, to prospective drawing and on-sight relief. In the second part we shall experiment with the various techniques of contemporary representation and not, as a complex exercise in the interpretation of reality, we shall pass from ink to pencil, from charcoal crayon to watercolours, from sanguines to pantones on supports which differ from time to time. Every lesson shall be preceded by practice sessions conducted in the classroom or outside in the presence of a teacher who shall provide practical clarifications on the execution. Intermediate verifications will take place and attendance in the lessons and in the practice tasks is required.

The material will be indicated by the teacher during the lessons.

Testi Adottati

- R. Arnheim, arte e percezione visiva, milano 1965
- Licisco Magagnato-Paola Marini (a cura di), Andrea Palladio. I quattro libri dell’architettura, Il polifilo, Milano 1980
- M. De Simone, Disegno, rilievo, progetto. Il disegno delle idee, il progetto delle cose, Roma 1990
- F. Moschini e G. Neri, Dal progetto. Scritti teorici di Franco Purini 1966-1991, Roma 1992
- G. Anceschi, L’oggetto della raffigurazione, Milano 1992
- E. E. Viollet Le Duc, Storia di un disegnatore, Venezia 1992
- aa.vv., Teorie e metodi del disegno, città-studi, Milano 1994.
- aa.vv., Il disegno come idea, Roma 1996
- G. De Fiore, Storia del disegno, Milano 1997
- M. Docci e D. Maestri; Scienza del disegno, Torino 2000
- aa.vv., Il disegno dell' architettura fra tradizione e innovazione, Roma 2002
- Anna Sgrosso, Rinascimento e barocco, in De Rosa-Sgrosso-Giordano, La geometria nell’immagine. Storia dei metodi di rappresentazione, utet, Torino 2002
- M.G. Cianci, La rappresentazione del paesaggio. strumenti e procedure per l' analisi e la rappresentazione del paesaggio, firenze 2008-i materiali (immagini, schemi, riferimenti e approfondimenti tematici).
sito web: 100disegni.blogspot.com

Bibliografia Di Riferimento

- R. Arnheim, arte e percezione visiva, milano 1965 - Licisco Magagnato-Paola Marini (a cura di), Andrea Palladio. I quattro libri dell’architettura, Il polifilo, Milano 1980 - M. De Simone, Disegno, rilievo, progetto. Il disegno delle idee, il progetto delle cose, Roma 1990 - F. Moschini e G. Neri, Dal progetto. Scritti teorici di Franco Purini 1966-1991, Roma 1992 - G. Anceschi, L’oggetto della raffigurazione, Milano 1992 - E. E. Viollet Le Duc, Storia di un disegnatore, Venezia 1992 - aa.vv., Teorie e metodi del disegno, città-studi, Milano 1994. - aa.vv., Il disegno come idea, Roma 1996 - G. De Fiore, Storia del disegno, Milano 1997 - M. Docci e D. Maestri; Scienza del disegno, Torino 2000 - aa.vv., Il disegno dell' architettura fra tradizione e innovazione, Roma 2002 - Anna Sgrosso, Rinascimento e barocco, in De Rosa-Sgrosso-Giordano, La geometria nell’immagine. Storia dei metodi di rappresentazione, utet, Torino 2002 - M.G. Cianci, La rappresentazione del paesaggio. strumenti e procedure per l' analisi e la rappresentazione del paesaggio, firenze 2008-i materiali (immagini, schemi, riferimenti e approfondimenti tematici) usati dal docente a supporto delle comunicazioni saranno messi a disposizione per l'eventuale riproduzione durante il corso che si svolgerà nel primo semestre e durante il quale saranno fornite indicazioni bibliografiche specifiche. sito web: 100disegni.blogspot.com

Modalità Erogazione

The course aims to deepen and to experiment with the techniques of representation aimed at knowledge, reading, direct survey, analysis, architecture design. Through these exercises, the definition of one's own graphic expressiveness will be favored, thus helping to understand how drawing is essential for expressing one's own ideas and for the project. It will include: frontal lessons, exercises, fieldwork and group work. The course is divided into phases: ANALYSIS AND REPRESENTATION OF THE ARCHITECTURAL PROJECT ARCHITECTURAL SURVEY KNOWLEDGE OF CLASSICAL ARCHITECTURE VISIONS AND ARCHITECTURAL REPRESENTATIONS In the case of an extension of the health emergency from COVID-19, all the provisions that regulate the methods of carrying out the teaching activities and student assessment will be implemented. In particular, the following methods will apply: remote and Teams platform.

Modalità Frequenza

The attendance is mandatory at 75%

Modalità Valutazione

The final exam takes place through the elaboration of four hand-made graphic extempore lasting 8 hours each, to be carried out in two days in the classroom. Furthermore, the creation of two digital works and a written-graphic notebook is required. Deliveries and evaluations are expected during the year. All exam sheets from previous years are available on the course website: 100disegni.blogspot.it and on the facebook page Disegno dell'Architettura. The final exam takes consist in a discussion regarding the sheets presented and the theoretical contents of the course. Required documents: ANALYSIS AND REPRESENTATION OF THE ARCHITECTURAL PROJECT: EXTEMPORE 1 - in the classroom ARCHITECTURAL SURVEY: TABLE 4 - at home KNOWLEDGE OF CLASSICAL ARCHITECTURE: EXTEMPORE 2 - in the classroom A LESSON ON DRAWING: EXTEMPORE 3 - in the classroom THE DIGITAL REPRESENTATION OF THE PROJECT: TABLE 5 - CAD THE ARCHITECTURE MANIFESTO: TABLE 6 – RENDER In the case of an extension of the health emergency from COVID-19, all the provisions that regulate the methods of carrying out the teaching activities and student assessment will be implemented. In particular, the following methods will apply: remote and Teams platform.