Study-unit LABORATORY OF INTERIOR DESIGN
| Course name | Design |
|---|---|
| Study-unit Code | A002173 |
| Curriculum | Comune a tutti i curricula |
| Lecturer | Marco Tortoioli Ricci |
| CFU | 12 |
| Course Regulation | Coorte 2021 |
| Supplied | 2022/23 |
| Supplied other course regulation | |
| Type of study-unit | Obbligatorio (Required) |
| Type of learning activities | Attività formativa integrata |
| Partition |
INTERIOR DESIGN
| Code | A002175 |
|---|---|
| CFU | 8 |
| Lecturer | Marco Tortoioli Ricci |
| Learning activities | Base |
| Area | Formazione di base nel progetto |
| Sector | ICAR/13 |
| Type of study-unit | Obbligatorio (Required) |
Cognomi A-L
| CFU | 8 |
|---|---|
| Lecturer | Marco Tortoioli Ricci |
| Lecturers |
|
| Hours |
|
| Language of instruction | Italian |
| Contents | The course will be developed around the choice of a design theme proposed by the lecturer, which will become the key to guiding the various activities to which students will be called upon during the year.In particular, the students will be asked to structure a research path in the key of metaproject preparation, delving into the proposed theme and demonstrating the ability to find derivations and thematic relations resulting from their own analysis and disciplinary reading skills. The result of this work is to be the subject of collective and individual presentations to be discussed during the lectures in the first part of the course. In this regard, the mode of working and studying in depth in a collective key should stimulate in the students the ability to interpret points of view and approaches to the subject other than their own and thus enrich their own endowment of knowledge and relative integration to the bibliography proposed by the lecturer as a personal resource. |
| Reference texts | POTTER Norman, Cos’è un designer, Thing Places Messages, Codice Edizioni, 2010; PEREC Georges, Specie di Spazi, Bollati Boringhieri 1989; HARA Kenya, Ex-formation, Lars Müller Publishers 2015; DE BOTTON Alain, Architettura e Felicità, Guanda, 2008; TINTI Lorenzo, Collezionare Meraviglia, Sulla Wunderkammer cinque-seicentesca, Bibliomanie.it N. 25 Aprile/Giugno 2011; PAPANEK Victor, Design for a Real World, Thames and Hudson, 2019 FEZER Jesko, SCHMITZ Martin, Lucius Burckhardt Writings, Springer Wien New York, 2012; MASTRIGLI Gabriele (a cura di), Superstudio Opere 1966-1978, Quodlibet Habitat. 2016; SOLANSKI Seetal, Why Materials Matter, Prestel Publishing, 2019 |
| Educational objectives | The overall objective of the Interior Design course is to develop for the candidates the ability to methodologically approach the stages of analysis reading, design development and reasoned formulation of an interior project in a complex manner. In particular, at the end of the course candidates will be required to be able to develop original design solutions capable of overcoming the challenges and limitations imposed by the interior space; to be able to demonstrate, through their project, clear historical and contemporary references discussed within the course; demonstrate how the research methodology used can be clearly reflected in the design methodology applied; demonstrate the ability to work in a team and activate collaborations useful for the achievement of one's own design objective; develop an adequate capacity for presentation in terms of the languages and tools used, giving equal importance to the narration of the phases of investigation, process management, project ideas, materials used, results expected results. |
| Prerequisites | Basic knowledge about the history of design and 20th century European artistic avant-gardes; writing skills; use of the main design editing software for design and architecture; use of graphics editing software (Adobe suite). |
| Teaching methods | The course is divided into a first phase dedicated to frontal lessons for the introduction of the main historical and cultural references and for the explanation of the semantic variables involved in interior design and the relative use of materials, light and space. In the second part, the course will instead include lessons in workshop mode dedicated to the collective and individual revision of the students' work. |
| Learning verification modality | Final course tests require students to present the required coursework. The lecturers on the committee are free to discuss and interact with the candidate and analyse the arguments presented, asking the candidate to explain references to the texts in the bibliography presented during the course. |
| Extended program | The research work will form the indispensable basis for the following development of the exercises required as course output. Students will be required to carry out two types of exercises: The Language of Space The first exercise is intended to improve students' ability to read, analyse and narrate space in a pre-design manner. Candidates will be asked to identify a space of their choice, unique in terms of affective or symbolic importance, and on this produce a specific type of representation. - Photographic. The space must be represented only with the aid of a photographic sequence without the inclusion of texts, images, drawings, but working exclusively on the concept of juxtaposition by means of which comparisons, contrasts, points of view, materials, textures, lights, context, etc. can be made. The language of materials-Antiprimadonna Antiprimadonna is one of the classic exercises in Basic Design courses, devised by Thomas Maldonado in his propaedeutic courses at Ulm, it is usually dedicated to the study of the relationship, both by contrast and harmony, between backgrounds, colour and pattern. The name derives from the objective of the exercise, which calls for no one element in the composition to prevail over the others. A type of exercise dedicated to training a sensitivity for balance and competitive dynamism in the field of visual design. Students on the course are asked to reinterpret the exercise in the classical manner, but using compositions of different materials pursuing the same objective of balanced composition. In particular, the exercise is to be developed by interpreting three different compositions oriented to arouse different sensory experiences, hot, cold, transparency. Each composition will then have to be photographed using different light conditions: natural (morning), natural (evening), warm artificial, cold artificial. The design of the space The third and most important exercise is to be understood as a working test to be carried out in groups of 3-5 members. The theme illustrated at the beginning of the course is to be tackled by analysing the various aspects of the design process, from the preliminary analysis through to the presentation of possible design hypotheses and the drafting of the final design composed in its final form in the examination paper. The work envisages the organisation of the group as a set of roles, capable of tackling the theme in a multidisciplinary key, the organisation of successive presentations during the lessons that will be tackled and assessed in the form of group reviews, the composition of the final paper giving space to the representations that the group will deem most suitable in terms of quality and completeness, to the narrative of the project developed. |
Cognomi M-Z
| CFU | 8 |
|---|---|
| Lecturer | Andrea Dragoni |
| Lecturers |
|
| Hours |
|
| Language of instruction | Italian |
| Contents | The course will be developed around the choice of a design theme proposed by the lecturer, which will become the key to guiding the various activities to which students will be called upon during the year.In particular, the students will be asked to structure a research path in the key of metaproject preparation, delving into the proposed theme and demonstrating the ability to find derivations and thematic relations resulting from their own analysis and disciplinary reading skills. The result of this work is to be the subject of collective and individual presentations to be discussed during the lectures in the first part of the course. In this regard, the mode of working and studying in depth in a collective key should stimulate in the students the ability to interpret points of view and approaches to the subject other than their own and thus enrich their own endowment of knowledge and relative integration to the bibliography proposed by the lecturer as a personal resource. |
| Reference texts | POTTER Norman, Cos’è un designer, Thing Places Messages, Codice Edizioni, 2010; PEREC Georges, Specie di Spazi, Bollati Boringhieri 1989; HARA Kenya, Ex-formation, Lars Müller Publishers 2015; DE BOTTON Alain, Architettura e Felicità, Guanda, 2008; TINTI Lorenzo, Collezionare Meraviglia, Sulla Wunderkammer cinque seicentesca, Bibliomanie.it N. 25 Aprile/Giugno 2011; PAPANEK Victor, Design for a Real World, Thames and Hudson, 2019 FEZER Jesko, SCHMITZ Martin, Lucius Burckhardt Writings, Springer Wien New York, 2012; MASTRIGLI Gabriele (a cura di), Superstudio Opere 1966-1978, Quodlibet Habitat. 2016; SOLANSKI Seetal, Why Materials Matter, Prestel Publishing, 2019 |
| Educational objectives | The overall objective of the Interior Design course is to develop for the candidates the ability to methodologically approach the stages of analysis reading, design development and reasoned formulation of an interior project in a complex manner. In particular, at the end of the course candidates will be required to be able to develop original design solutions capable of overcoming the challenges and limitations imposed by the interior space; to be able to demonstrate, through their project, clear historical and contemporary references discussed within the course; demonstrate how the research methodology used can be clearly reflected in the design methodology applied; demonstrate the ability to work in a team and activate collaborations useful for the achievement of one's own design objective; develop an adequate capacity for presentation in terms of the languages and tools used, giving equal importance to the narration of the phases of investigation, process management, project ideas, materials used, results expected results. |
| Prerequisites | Basic knowledge about the history of design and 20th century European artistic avant-gardes; writing skills; use of the main design editing software for design and architecture; use of graphics editing software (Adobe suite). |
| Teaching methods | The course is divided into a first phase dedicated to frontal lessons for the introduction of the main historical and cultural references and for the explanation of the semantic variables involved in interior design and the relative use of materials, light and space. In the second part, the course will instead include lessons in workshop mode dedicated to the collective and individual revision of the students' work. |
| Learning verification modality | Final course tests require students to present the required coursework. The lecturers on the committee are free to discuss and interact with the candidate and analyse the arguments presented, asking the candidate to explain references to the texts in the bibliography presented during the course. |
| Extended program | The research work will form the indispensable basis for the following development of the exercises required as course output. Students will be required to carry out two types of exercises: The Language of Space The first exercise is intended to improve students' ability to read, analyse and narrate space in a pre-design manner. Candidates will be asked to identify a space of their choice, unique in terms of affective or symbolic importance, and on this produce a specific type of representation. - Photographic. The space must be represented only with the aid of a photographic sequence without the inclusion of texts, images, drawings, but working exclusively on the concept of juxtaposition by means of which comparisons, contrasts, points of view, materials, textures, lights, context, etc. can be made. The language of materials-Antiprimadonna Antiprimadonna is one of the classic exercises in Basic Design courses, devised by Thomas Maldonado in his propaedeutic courses at Ulm, it is usually dedicated to the study of the relationship, both by contrast and harmony, between backgrounds, colour and pattern. The name derives from the objective of the exercise, which calls for no one element in the composition to prevail over the others. A type of exercise dedicated to training a sensitivity for balance and competitive dynamism in the field of visual design. Students on the course are asked to reinterpret the exercise in the classical manner, but using compositions of different materials pursuing the same objective of balanced composition. In particular, the exercise is to be developed by interpreting three different compositions oriented to arouse different sensory experiences, hot, cold, transparency. Each composition will then have to be photographed using different light conditions: natural (morning), natural (evening), warm artificial, cold artificial. The design of the space The third and most important exercise is to be understood as a working test to be carried out in groups of 3-5 members. The theme illustrated at the beginning of the course is to be tackled by analysing the various aspects of the design process, from the preliminary analysis through to the presentation of possible design hypotheses and the drafting of the final design composed in its final form in the examination paper. The work envisages the organisation of the group as a set of roles, capable of tackling the theme in a multidisciplinary key, the organisation of successive presentations during the lessons that will be tackled and assessed in the form of group reviews, the composition of the final paper giving space to the representations that the group will deem most suitable in terms of quality and completeness, to the narrative of the project developed |
PRINCIPLES OF ARCHITECTURAL COMPOSITION
| Code | A002174 |
|---|---|
| CFU | 4 |
| Lecturer | Paolo Di Nardo |
| Lecturers |
|
| Hours |
|
| Learning activities | Affine/integrativa |
| Area | Attività formative affini o integrative |
| Sector | ICAR/14 |
| Type of study-unit | Obbligatorio (Required) |
| Language of instruction | Italian. |
| Contents | The course, which is supplemented by specialized seminars, is divided into lectures and exercises in a project. |
| Reference texts | Carlo Aymonino, Il significato delle città, Marsilio, Editori Laterza, Roma-Bari 1975. Gianfranco Caniggia, Composizione architettonica e tipologia edilizia, Marsilio, Venezia 1999. Gian Carlo Leoncilli Massi, La leggenda del comporre, Alinea, Firenze 2002. Giò Ponti, Amate l’architettura, Società Editrice Cooperativa, Milano 2004. Franco Purini, Comporre l’architettura, Editori Laterza, Roma-Bari 2000. Ludovico Quaroni, Progettare un edificio. Otto lezioni di architettura, Mazzotta, Milano 1977. Aldo Rossi, L’architettura della città, Marsilio, Venezia 1966. Aldo Rossi, Autobiografia scientifica, Pratiche Editrice, Milano 1999. Francesco Venezia, La natura poetica dell’architettura, Giavedoni, Pordenone 2010. |
| Educational objectives | The course has set itself the objective of providing students with the tools to control the modifications of architectural systems simple.The course aims to provide students with the following knowledge.1. Knowledge of traditional design techniques.2. Knowledge of innovative design techniques.The course aims to provide students with the following skills.1. Know how to apply the techniques in the control of traditional design modifications of architectural systems simple.2. Know how to apply the innovative design techniques in the control of the modifications of architectural systems simple. |
| Prerequisites | Basic knowledge of architecture drawing. |
| Teaching methods | The course is divided into lectures and exercises in a project. |
| Other information | None. |
| Learning verification modality | The exam consists of an individual oral test and the presentation of a project realized in a group. The test aims at assuring the level of knowledge and understanding, as well as synthesis, achieved by the student. |
| Extended program | The course, which is supplemented by seminar initiatives aimed at deepening the concept of architectural design as a system of theoretical-critical than technical and scientific need for understanding and transformation of the physical space, is divided into lectures and exercises in a project.The lectures are divided into three training units: the theoretical framework (elementary principles), themes (layouts conventional), the new themes (layouts unconventional). The tutorial project covers a topic assigned by the teacher. |