Along with the crisis in urban and natural landscape and in the founding theories of the project too, it is essential to work on the renewal of our compositional tradition. Rootedness in places requires an approach that deals with the fabrics and spaces of cities and landscapes, with their systems of relationship, with the characters and features of urban and architectural composition.
Course Content - Part D
"We really only know what we do": in the wake of Vichian thought, the course intends to organize a didactic experience whose focus is the practice of the project. In this logic also the aspects of theoretical-reflexive matrix will have to find in the development of the compositional proposal their field of elaboration, application, definitive revelation.
Course Content - Part E
The students, divided into groups of 2 or 3 people, will initially have to work on a master plan, which will become the basis for in-depth studies on urban settlement aspects, such as: the inhabited bridge, the artist's house, the temporary exhibition pavilion. All projects that will have to satisfy some needs of the Municipal Administration of the urban sector of Montelupo Fiorentino
Fabrizio Arrigoni, Sinopie. De architectura ex atramentis, Die Neue Sachlichkeit, 2011.
Fabrizio Arrigoni, Fogli. Scritti per l’architettura, Dida press, Firenze 2019.
Fabrizio Arrigoni, Arrigoni Architetti, 000_010 progetti, Blurb.com, San Francisco (Ca) 2010.
Manfredo Tafuri, Aufklärung II. Il museo, la storia, la metafora (1951-1967) sta in Id., Storia dell'architettura italiana 1944-1985, Einaudi, Torino 1982
Georges Didi-Huberman, L’Image survivante. Histoire de l’art et temps des fantômes selon Aby Warburg, Les Éditions de Minuit, Paris 2002 (trad. it. di A. Serra, L’immagine insepolta. Aby Warburg, la memoria dei fantasmi e la storia dell’arte, Bollati Boringhieri, Torino 2006)
Georges Didi-Huberman, Survivance des lucioles, Les Éditions de Minuit, Paris 2009 (trad. it. di C. Tartarini, Come le lucciole. Una politica delle sopravvivenze, Bollati Boringhieri, Torino 2010)
Jean Clair, Malaise dans les musées, Flammarion, Paris 2007 (trad. it., La crisi dei musei. La globalizzazione della cultura, Skira, Milano 2008)
Jean Clair, L’hiver de la culture, Flammarion, Paris 201 (trad. it. di D. Comerlati, L’inverno della cultura, Skira, Milano 2011)
Krzysztof Pomian, Il Museo. Una storia mondiale (volI,II), Einaudi, Torino 2021/22
Germano Celant, senza titolo/1974, Bulzoni, Roma 1976
Germano Celant, Arte Povera. Storie e protagonisti, Electa, Milano 1985
Germano Celant (a cura di), Arte Povera 2011, Electa, Milano 2011
Germano Celant, Preconistoria 1966-69, Quodlibet, Macerata 2017
Rudi Fuchs (a cura di), Kounellis, Leonardo De Luca editori, Roma 1991
Germano Celant (a cura di), Kounellis, Fabbri, Milano 1992
Bruno Corà (a cura di), Kounellis, Charta, Milano 1993
Bruno Corà (A.A.V.V.), Kounellis, Skira, Milano 1997
Gloria Moure (a cura di), Jannis Kounellis. Works, Writings, 1958-2000, Ediciones Poligrafa, Barcelona 2001
Bruno Corà (a cura di), Kounellis, Gli Ori, Siena 2001
Gloria Moure (a cura di), Kounellis, Electa, Milano 2003
Huang Du (a cura di), Jannis Kounellis. Translating China, Today Art Museum, Beijing 2011
Germano Celant (a cura di), Kounellis, Fondazione Prada, Milano 2017
Benjamin W., L’opera d’arte nell’epoca della sua riproducibilità tecnica, Torino, Einaudi, 2000
Collotti, F., Appunti per una teoria dell'architettura. Luzern, Quart Verlag, 2002
Collotti F., Idea civile di architettura–Scritti scelti 1990-2017. Siracusa, LetteraVentidue, 2018
Collotti F., “Je tentais de constituer un musée imaginaire (donc de trier plus que d’élire?)”, in Caja, Rossi (a cura di), L’architettura del Museo. Disegno, modello, progetto, Napoli, La scuola di Pitagora editrice, 2018
Le Corbusier, Verso una architettura, Milano, Longanesi, 2003
Focillon H., L’elogio della mano. Roma, Castelvecchi, 2014
Grassi, G., La costruzione logica dell'architettura. Venezia, Marsilio, 1967
Grassi, G., Architettura come mestiere e altri scritti. Milano, Franco Angeli, 1981
Grassi, G., Scritti scelti 1965-1999. Milano: Franco Angeli, 2000
Da Milano C., Sciacchitano E., Linee guida per la comunicazione nei musei: segnaletica interna, didascalie e pannelli, Roma, MIBACT, 2016
Desvallées A., Mairesse F., Concetti chiave di museologia, Armand Colin, Malakoff, 2010
Loos A., Parole nel vuoto. Milano, Adelphi, 1972
Perrella, S., Da qui a lì. Ponti, scorci, preludi. Roma, Gaffi Editore, 2018
Perrot, M., Storia delle camere, Palermo,Sellerio Editore, 2011
Rossi, A., L'architettura della città. Padova, Marsilio Editori, 1966
Rossi, A., Autobiografia scientifica. Milano, Nuove Pratiche Editrice, 1999
Munari B., Da cosa nasce cosa. Appunti per una metodologia progettuale. Bari, Laterza, 2017
Tessenow, H., Osservazioni elementari sul costruire. Milano, Franco Angeli Editore, 1981
Tessenow, H., La costruzione della casa. Milano, Edizioni Unicopli, 1999
Sennett, R., L’uomo artigiano. Milano, Feltrinelli, 2008
Zermani, P. Identità dell'architettura. Roma, Officina Edizioni, 1995
Serie di podcast curati da F. Collotti e E. Martinelli, Spaziodrammi, su Spreaker.com
https://www.spreaker.com/show/spaziodrammi
Learning Objectives - Part B
The teaching goals concern learning the main instruments and strategies for architectural design principles and methods. They will be tested in the design of an art or music school in a delicate natural or urban site. The design will be developed with concern for main issues, such as interaction aspects, space, materials, light and expression of common values
Learning Objectives - Part D
The workshop is based on two mutually intertwined themes: on the one hand it is a critical reflection on a typology of ancient lineage and potentially bearer of spatial complexity, and on the other it is a comparison on the values of the agricultural landscape, understood as a point of intersection between living and work, nature and built-form.
Learning Objectives - Part E
Learning from..knowing how to generate a project starting from single fragments, rediscovering a design gesture knowing how to reflect on the built and the buildable
Prerequisites - Part B
The student must have passed the laboratorio di progettazione exams. He must have learnt the basic rules of architectural composition, have a good knowledge of urban and architectural typologies, of architectural history, good skills in hand drawing and computer drawing, good knowledge of ontemporary softwares for architectural design computer programs.
Prerequisites - Part D
Preconditions included in the course of studies.
Prerequisites - Part E
Have passed the exams prescribed by the preparatory courses of the School's teaching regulations.
Teaching Methods - Part B
Lessons will be held on theories and design analysis of a few design experiences. From the start students will have to work on the design of a museum on climate change, in a delicate neighborhood, chosen between two selected by the course. Attention will be given to design principles, theoretical thought, spatial choices, languages and the ways they are represented by drawings and models or videos.
Teaching Methods - Part D
The Design Studio activities will be modelled on the example of the design seminars or workshops; the time available will be entirely devoted to the work of the students at the site - research, drawing, maquette; a modality that is a cast of what happens every day in a workshop. The frontal lesson will be interpreted as a brief communication on singular and specific aspects related to the topics dealt students. The project will be prepared by working groups of two students.
Teaching Methods - Part E
The course will consist of lectures, exercises, site inspections, choral discussions, and group work
Further information - Part D
The course includes three exercises to be conducted during the semester.
-One Work One Room.
The student/student will choose a work from the catalog of artist Jannis Kounellis (Piraeus 1936-Rome 2017). He/she will have to devote to it the design of the room that protects-exposes it; an exercise of reading-comprehension of the work and dialectical comparison of the latter with the spatial morphology that hosts it. The final board will contain a reproduction of the work, an axonometric wireline cutaway of the room, a view of the room, and a 2000-paragraph (including spaces) text presenting the design proposal. The graphic material should follow the assigned lay-out in terms of size and position of the elements, font of the texts (4 vertical A4 sheets mounted and folded - printed on 120 gram heavy paper). The set of selected works will define the collection to be housed in the subject building. The exercise is individual.
-1 model 10 images
Presentation, according to the Kahnian distinction of Form and Design, of the konzept of the design proposal through a study model (to be held in the palm of one hand) and ten images. Each working group will present a projection (power-point/pdf horizontal sheet) as follows:
Image 0: header, names of participants the group, motto of the design proposal
Images 1-5: exercises in spatial hermeneutics-design references, interpretation of place and type
images 6-10: highlights of the project in place - regulatory layouts, structure, subject matter.
Tools used will be photography, drawing, three-dimensional model, conceptual diagram, citation (film, plastic and visual arts, literature etc.).
-Red Notebook
The compilation of the notebook follows a mode initialed by Ettore Sottsass in the magazine "Domus" and later collected in the volume Foto dal finestrino (Adelphi 2010). Short writings (quotations, descriptions, original writings, etc.) to which small photographic images printed on plain paper will be associated. The iconographic material-original or drawn from magazines, volumes, catalogs, printed matter-may be the result of montage (papier collé, montage, photomontage, mixed media); title/subject: Rome. Rome stands here for a city that, over time, has been inhabited and understood as the Western city par excellence. A portrait of it is proposed through reflections and references extracted from the visual arts (painting, film, photography, video art, graphics) from the plastic arts (landscaping, urban planning, architecture, sculpture, design) from writings (literature, philosophy, poetry).
editorial standards
Moleskine notebook 12.8x21 cm (white sheets) with red cover;
first page: titling Rome / last page: author's/author's name and e-mail address;
paired pages: left side a photograph - print on small format plain paper (also black/white); right side - a short scholio as a personal reflection or quotation (black ink is recommended). The size of the photographs will preferably be the same for the entire collection; all 80 pages of the notebook must be used. The exercise is individual.
Further information - Part E
Mandatory attendance
Type of Assessment - Part B
Knowledge will be tested during the course with the development of the student’s work and the final architectural design proposal.
Type of Assessment - Part D
The experiences carried out in the Design Studio will be subject to specific judgment and will contribute to the final evaluation.
List of materials required to pass the test:
three-dimensional models of the project proposal (scale 1:500 - size and morphology of the model according to lay-out - cardboard-wood construction material in suitable thicknesses).
drafting of the boards according to lay-out.
exercises: the original products of Repertorio and Red Notebook.
portfolio containing the results of the different exercises, the project report, plans, sections, profiles, renderings; it is possible to insert graphic works not present on the boards for a better understanding of the project proposal (format and layout according to layout).
dvd with all the files produced during the workshop (first name, surname, e.mail address and mobile phone of each member of the group).
The oral test will consist in the discussion of the project outcomes: synthesis skills, argumentative rationality, competence in the use of a specialized vocabulary are the main indexes in the verification of learning.
Type of Assessment - Part E
intermediate exercises, presentation, and final required papers.
Course program - Part B
ARCHITECTURAL DESIGN STUDIO V
PROF. ARCH. FABRIZIO ROSSI PRODI
The design activity concerns a climate museum, intended as a facility for education and information on environmental, energy and climate change issues. The facility will consist of exhibition, documentation and laboratory spaces, communication spaces, including a small 100-150 seat auditorium, a library, reception, secretarial services, recreational and meeting spaces. The facilities may in part be located outdoors in keeping with the institution's aims.
The student will be free to integrate and vary the brief by adapting it to specific purposes he or she may propose.
In addition to environmental issues, the student will have to reflect on the themes of landscape and urban landscape, settlement principles, educational and exhibition spaces.
The museum will be designed on an area chosen by the student between two alternatives: 1) Piazza de’ Ciompi (art school), 2) via Fabrizio De André (music/entertainment school).
The activity will be carried out individually or in pairs at most. The project must be designed according to scale 1:200 in at least six 70x70 cm (or similar) sheets with one or two drawings per sheet, including mass plan (1:500/1:1000), plans, at least one perspective section, two elevations, views and an A4 document (even several sheets) showing conceptual schemes to explain the founding criteria of the project, along with an illustrative report of no more than 2.500 characters on single A4 sheet.
As an alternative to rendered views, the student may present a short video of no more than two minutes.
To be eligible for reviews (until 1 November) the student must submit in paper format at least the planimetric/planivolumetric plan, conceptual schemes, first hypotheses of plan aggregation in scale 1:200, section and a 3D model; to be eligible for the following reviews the student must produce at least complete plans 1:200, 1 section, 1 elevations, 1 rendered view, in addition to the 3D model.
Course program - Part D
The project theme is the design of the headquarters of the Jannis Kounellis Archive-Museum in the Rione Regola in Rome (https://archiviokounellis.com/homepage) in an area called Largo Lorenzo Perosi, a trapezoidal lot between Via Giulia and the Lungotevere dei Sangallo in front of the Giuseppe Mazzini Bridge. The empty space is what remains of a plan to reorganize this part of the city (Renaissance District) drafted to follow the 1931 General Regulatory Plan. The plan was not completed. The design proposal, in addition to the definition of the new building, should include the redesign of the relevant open spaces (thematic gardens, squares, walkways). In 2009 with the archaeological investigation necessary for the issuance of the permit for the construction of the 366-box underground parking lot, of which 336 are appurtenant and 30 are rotational, structures of the stabulum used by the white (Albata), red, (Russata), blue, (Veneta) and green (Prasina) factions were found; The structure was organized in a series of parallel walls with remains of the bases of the travertine pillars that scanned the aisles where the animals were housed. The style and method of construction bring the origin of the facility back to the Augustan age and the activities of Marcus Vipsanius Agrippa, a friend and son-in-law of Augustus, to whom the emperor had entrusted the organization of the ludi saeculares, which included circus games. The project will have to take on this site-specific condition.
Functional program
Reception area:
public entrance hall (including counter and checkroom); bookstore; multipurpose room (meetings, book presentation, exhibitions) 100 sq. m.; services (1 women's bathroom, 1 men's bathroom, 1 disabled) 15 sq. m.
Cafeteria-Restaurant:
Bar area 35 sq. m.; hall 60 sq. m.; kitchen 50 sq. m.; facilities (1 women's bathroom, 1 men's bathroom, 1 disabled bathroom) 15 sq. m.; storage room-consultation room 16 sq. m.
Exhibition rooms:
halls: 600 sq. m.; storage rooms: 250 sq. m.
Archives:
Reading/library room, storage, projection room, services (1 women's bathroom, 1 men's bathroom, 1 disabled bathroom) 15 sq. m.
Administrative spaces for staff:
foyer/secretary's office 20 sq. m., management office 12 sq. m., staff offices (minimum 2 stations) 20 sq. m., dressing room (men's/women's) 22 sq. m., services (1 women's bathroom, 1 men's bathroom, 1 disabled) 15 sq. m.
Technical rooms:
machine room (electrical/thermal conditioning) 50 sq.m.
The net surfaces indicated by the program must be respected with a permissible tolerance of 5% (higher and/or lower). Accessory functions and surfaces intended for circulation/distribution have not been counted in order to encourage a free interpretation of interior spatialities. Environments may have gardens, courtyards and open spaces pertaining to them.
General directions:
The new complex may be on several levels; maximum height 15 m. Elevator and/or pedestrian ramps of adequate size, suitable to allow the connection of the various floors of the building in accordance with the current regulations on the elimination of architectural barriers.
Minimum height of administration areas 270 cm.
minimum height cafeteria restaurant: 300 cm.
minimum height of multipurpose room: 350 cm.
minimum height service areas: 240 cm.
Accessibility:
Independent operation of the cafeteria/restaurant multipurpose room should be ensured in addition to providing separate entrances for different users (employees, administrative staff, visitors).
Lighting:
When consistent with the intended uses set up preferably employ natural sources of lighting. Specific light control (natural and non-natural) should be provided for exhibition rooms. Toilets may be served by forced ventilation and artificial lighting.
Exterior arrangements:
The proposal should include an overall rearrangement of the site where the artifacts stand.
Course program - Part E
In Montelupo ceramics has always been at home.
But that he had toured the world over time, that had been forgotten. In fragments, the memory of the place has returned. By chance, while digging to do some improvement work, some wonders were found, even if they were "wrong". The ones that couldn't be sent around. The lost registers of memory were all piled up in the well, one after another, one on top of the other, starting with the last ones at the top, to the first ones at the bottom.
And so it was discovered backward that Montelupo was at the center of a geography of places, passages, exchanges, markets, and ports that linked it to Italy, the Mediterranean, and all of Europe. Motifs, colors, figures, weaves, symbols, knowledge, contaminations, tales, and stories have been found.
Between the fragments and the whole ceramics found far away, there was a long journey in between, often on water; on the river first, and then by sea.
Montelupo sets off again in fragments with its rediscovered memory.
Around the rivers that were current and departure. Around the Medici Villa of the Ambrogiana with its large avenue of plane trees. Around the station which was among the first and still could hardly be called Italy.
We are going to recompose the whole in fragments, between the Pesa and the Arno. In frieze to the tracks, along the river, on a bridge, between a jump in altitude and the walls.
The method will always be the same, listening to the places and their long journey, finding the lost signs, understanding together which ones still make sense today and which ones don't, recomposing the fragments as far as possible, continuing to tell stories so that they don't get lost the thread that binds them.
The departure for a project is a fixed element that remains at the bottom of the experience and lies in continuing to learn from what has been.
Learning from. it is also having distrust of easy gimmicks, trying to think about the problem and not the solution, sticking to old papers with our new designs, and rediscovering the reasons for a place that was once more easily explained than today which has grown.
In this way, we propose to manipulate the lack of parts of the city, hypothesize their completion, and rethink their meanings. We have to take hold of the threads of a regeneration of the inhabited spaces, of the fronts of houses, of the views over the river, of that bridge that is so banal today.
Without spending too much time on the analysis, rather thinking that the analysis is already the first drawing of a good project. All studying and showing references even distant in time and place, can enlighten us about the project. Drawing and telling the path of each one on the sheets. From the natural to the artificial, from the casual to the designed, from the play of light to the molding is the path of each project.
The theme is that of a project in fragments, in which the design gesture reflects on the built and the buildable. It concerns a large portion of the area that links the Montelupo-Capraia station, the Lungo Pesa, the connection between the historic center and the recent buildings, and the relationship with the Villa Medicea dell'Ambrogiana. The subject of examination includes all the complexities and design scales, that of weight, urban, architectural, interior, up to the technical constructive detail.
The students, divided into groups of 2-3 people, will first propose a project masterplan (delivery 27 October 2022), after which some settlement aspects will be explored, such as the inhabited bridge, the artist's house, and the temporary exhibition pavilion. The project will have to satisfy some needs of the Municipal Administration of Montelupo Fiorentino which for some years has launched a project for the regeneration of the historic center through cultural initiatives and its ceramic characterization.
The relatively small scale of the architectural interventions allows a technical-constructive and plant engineering control measured by the knowledge gained in the fifth year in knowing how to manage the entire design process. An integral part of the workshop will be the creation of a small final exhibition of some of the design results.
The definitive list of tables will be communicated during the first lessons. Intermediate deliveries will be mandatory to access the subsequent phases of the laboratory.
Sustainable Development Goals 2030 - Part B
The design experience concerns a museum on climatic change. The design activity is run with digital means.
Sustainable Development Goals 2030 - Part D
This teaching contributes to the achievement of the UN goals of the 2030 Agenda for Sustainable Development (3/8).