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.

Testi di riferimento:
Cristiana Bedoni, I luoghi del disegno, Città Studi Edizioni, Milano 1996;
Nuovo Manuale dell’architetto, CNR, ristampe varie;
Durante il Corso verranno fornite Dispense didattiche e bibliografie specifiche documentative degli argomenti

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-i materiali (immagini, schemi, riferimenti e approfondimenti tematici).
sito web: 100disegni.blogspot.com

The Digital Representation module intends to provide the theoretical concepts and technical tools needed for a conscious use of current applications dedicated to the architectural representation.
The lessons will deal with the theoretical concepts inherent the various digital representation techniques, the different types of "model", the two-dimensional vector drawing (Autodesk AutoCAD) and the graphic norms, the three-dimensional modelling and rendering rudiments (McNeel Rhinoceros), finally, the post-production of raster images (Adobe Photoshop).
The Graphic Interfaces, Workspaces and Reference Systems, Proper Organization of File Structure, Tools for Creating and Editing Vector Geometries and Raster Images, the elaboration of printable technical sheets will be presented for each of the softwares.

Docci, Mario. Manuale di disegno architettonico. Bari: Editori Laterza, 2002
Migliari, Riccardo (a cura di). Disegno come modello. Roma: Kappa, 2004
MIgliari, Riccardo (a cura di). Geometria descrittiva. Vol. 2. Torino: Città Studi, 2009
Albisinni, Piero e De Carlo, Laura (a cura di). Architettura. Disegno. Modello. Roma: Gangemi, 2011

The class of digital drawing aims to provide students with fundamental knowledge on the proper use of the digital instrument and related software. During the course, through some preparatory exercises for the exam, we will teach the techniques and tools for drawing 2d, until the correct execution and print a board of an architectural project properly formatted. They will also be in-depth some of the themes on the three-dimensional modeling and rendering, with particular attention to the care and of the composition and the regulation and distribution of shadows and lights, where possible also with nods to the use of textures applied to the rendered material.
Finally, it will mention the processing, management, editing and pagination of raster images.
The planned exercises are 5 throughout the year, partly individual, partly in group: drawing tools 2d, 2d editing tools, the theme of the year project, 3d modeling, 2d board formatted in paper space.
It is a must, in order to take the exam, deliver all exercises.
Otherwise there is a four hours graphic test of the end of year to perform in the classroom, whose success allows access examination.

Migliari Riccardo. 2003. Geometria dei modelli. Roma: Edizioni Kappa, 2003, 311 p. ISBN: 88-7890-512-7.
De Luca Livio. 2011. La Fotomodellazione Architettonica. Palermo: Dario Flaccovio Editore, 2011. ISBN:978-88-579-0070-4
Lo Turco Massimiliano. Il BIM e la rappresentazione infografica nel processo edilizio. Dieci anni di ricerche e applicazioni. Roma: Aracne, 2015, 396 p. ISBN 9788854882508