Università Roma Tre

The course consists of 6 Drawing credits and 2 credits of Digital representation, which will be closely integrated.

1. 1. Drawing from True and survey at Palazzo Spada in Rome, with in situ campaigns and subsequent classroom work.
2. 2. Drawing for the architectural project with theoretical lessons and laboratory experiences

All the sections indicated below will be accompanied by the theory that will allow the acquisition of the fundamentals of the design discipline and the achievement of the course objectives, to be verified during the examination.


General issues
0. Sketching
1. The direct survey drawing. Methodologies and graphic constructions
2. The drawing for the architectural project: from the concept to the codified technical drawing
3. The drawing of the Masters
4. Graphical analysis of architectural values
5. Drawing between art and science: ancient drawing, tools, representation theory
6. Perception and visual communication
Specific topics
In order to develop the themes indicated above, the following topics will be covered:

1. Measurement theory (book chapter)
2. The theoretical foundations of the survey. Direct architectural survey. Eidotypes and procedures (for the plan and elevation of a family environment) (book chapter)
3. The design of the building elements (stairs, fixtures). (food storage)
4. Symbolic representation. Graphic codes and their use. (chap. book)
5. Dimensioning systems for survey and project graphs. (pantry and book chapter)
6. The architectural project drawing: types of works, methods and graphic process of elaboration. (chap. book)
7. Graphic analysis for knowledge of the architectural work. To be applied to the theme provided by the teacher. (food storage)
8. Perception and visual communication. The elements of representation. Point, line, surface, structures, textures and formal laws and graphic composition. (chap. and pantry)
9. The design of the Masters: the values ​​of design between rule and graphic artifice. (chap. book and handouts)
10. The design of classical orders. Five easy pieces by R. Migliari (magazine extract)
11. The design of the ancient between art and science. The art of drawing at Palazzo Spada. Borromini's solid perspective: design and construction. Closing lesson. (book and essay in volume)

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

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.

- 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 software.

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
Carpo, Mario. The second digital turn. Design beyond intellingence. Cambridge, London: MIT Press, 2017

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