Università Roma Tre

TO BE ABLE TO DRAW, IN A CORRECT AND UNDERSTANDABLE FORM, IN ARCHITECTURE IT IS PREREQUISITE TO DIALOGUE WITH THE OUTSIDE WORLD. THE KNOWLEDGE OF GRAMMATICAL AND LEXICAL BASIS OF THE ARCHITECTURAL DRAWING ALLOWS THE USE OF THE AVAILABILITY OF GRAPHIC LANGUAGE AND ARCHITECTURE TO EXPRESS NOT ONLY THE OBJECTIVE REALITY AND MATERIAL / DIMENSIONAL ARCHITECTURE ITSELF BUT ALSO TO TEST AND EXPOSE THE FORMAL THOUGHTS, THE GEOMETRIC AND PROPORTIONAL LOGIC, THE MEMORIES OF HISTORICAL LANGUAGE, THE SYMBOLIC VALUES, THE UNDERLYING MEANING THAT SUBSTANTIATE THE WAYS OF BEING OF ARCHITECTURAL OBJECTS. OBJECTIVES: DEVELOPMENT OF THEORETICAL KNOWLEDGE AND PRACTICAL SKILLS CRITICAL TO PROPER USE OF TECHNIQUES AND METHODS OF REPRESENTATION, MEANING AND VALUE OF GRAPHIC CONVENTIONS NEEDED FOR THE TRANSMISSION OF THE IDEA OF ARCHITECTURE AND HIS DESIGN FOR THE PROJECT.

Selected bibliography:
C.Bedoni, I luoghi del disegno, Città Studi Edizioni, Milano 1996;
Nuovo Manuale dell’architetto, CNR, various reprints;
The literature on various topics of the lectures and exercises will be suggested during the course.

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.

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-
SITO WEB: 100DISEGNI.BLOGSPOT.COM

The aim of the course is the general knowledge of digital reality, which regulates more and more the representation of the drawing, but also the proper use of specific software, in basic commands (Autocad for 2D and 3D for Rhinoceros bases) to tell the architecture, existing and designed, with elaboration of technical drawings to conventional graphic scales and integrated with render and alternative processing.

La bibliografia sarà comunicata durante il corso.