Study-unit LABORATORY OF INTERIOR DESIGN

Course name Design
Study-unit Code A002173
Location PERUGIA
Curriculum Comune a tutti i curricula
Lecturer Paolo Belardi
CFU 12
Course Regulation Coorte 2023
Supplied 2024/25
Supplied other course regulation
Type of study-unit Obbligatorio (Required)
Type of learning activities Attività formativa integrata
Partition

INTERIOR DESIGN

Code A002175
Location PERUGIA
CFU 8
Lecturer Paolo Belardi
Learning activities Base
Area Formazione di base nel progetto
Sector ICAR/13
Type of study-unit Obbligatorio (Required)

Cognomi M-Z

CFU 8
Lecturer Andrea Dragoni
Lecturers
  • Andrea Dragoni
Hours
  • 72 ore - Andrea Dragoni
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 must 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 - ARNHEIM RUDOLPH, Arte e percezione visiva, Feltrinelli, 2008.
- DE BOTTON Alain, Architettura e Felicità, Guanda, 2008.
- DI NARDO PAOLO, Design Obliquo, LetteraVentidue, 2011.
- FEZER Jesko, SCHMITZ Martin, Lucius Burckhardt Writings, Springer Wien New York, 2012.
- HARA Kenya, Ex-formation, Lars Müller Publishers 2015.
- MASTRIGLI Gabriele (a cura di), Superstudio Opere 1966-1978, Quodlibet Habitat. 2016.
- PAPANEK Victor, Design for a Real World, Thames and Hudson, 2019.
- PEREC Georges, Specie di Spazi, Bollati Boringhieri 1989.
- POTTER Norman, Cos’è un designer, Thing Places Messages, Codice Edizioni, 2010.
- SOLANSKI Seetal, Why Materials Matter, Prestel Publishing, 2019.
- TINTI Lorenzo, Collezionare Meraviglia, Sulla Wunderkammer cinque-seicentesca, Bibliomanie.it N. 25 Aprile/Giugno 2011.
Educational objectives The general objective of the Interior Design course is to develop in candidates the ability to methodologically address the phases of analysis, reading, design development and reasoned formulation of an interior design 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 limits imposed by the interior space they will be considering; to be able to demonstrate, through their own project, clear historical and contemporary references discussed within the course; to demonstrate how the research methodology used is visibly reflected in the design methodology employed to demonstrate the ability to work in a team and activate collaborations useful for achieving one's own project objective; to 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, expected results
Prerequisites Basic knowledge of 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 explanations of the semantic variables involved in interior design and the relative use of materials, light and space.
In the second part of the course, instead, there will be lessons in laboratory form dedicated to the collective and individual revision of the students' work. Interior studies will be hosted throughout the year as testimonials of 'design culture'.
Learning verification modality The examination tests require students to present the work required as the objective of the course. The lecturers on the committee comment on 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 subsequent conduct 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 two types of representation.
Written. The space is to be described in detail only through the writing of a text. The reference to be taken into account is Georges Perec's text, Species of Spaces. The originality of the text, the completeness in letting the reader perceive the architectural and relational dimension, the quality of the presentation and the verbal presentation will be assessed.
The language of materials-Antiprimadonna
Antiprimadonna is one of the classic exercises of Basic Design courses, created by Thomas Maldonado in his preparatory courses in Ulm, 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 elicit different sensory experiences, hot, cold, transparency.
Each composition will then have to be photographed using different light conditions: natural (morning), natural (evening), artificial warm, artificial cold.
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 a maximum of
3 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 project 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 A-L

CFU 8
Lecturer Paolo Di Nardo
Lecturers
  • Paolo Di Nardo
Hours
  • 72 ore - Paolo Di Nardo
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 must 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 - ARNHEIM RUDOLPH, Arte e percezione visiva, Feltrinelli, 2008.
- DE BOTTON Alain, Architettura e Felicità, Guanda, 2008.
- DI NARDO PAOLO, Design Obliquo, LetteraVentidue, 2011.
- FEZER Jesko, SCHMITZ Martin, Lucius Burckhardt Writings, Springer Wien New York, 2012.
- HARA Kenya, Ex-formation, Lars Müller Publishers 2015.
- MASTRIGLI Gabriele (a cura di), Superstudio Opere 1966-1978, Quodlibet Habitat. 2016.
- PAPANEK Victor, Design for a Real World, Thames and Hudson, 2019.
- PEREC Georges, Specie di Spazi, Bollati Boringhieri 1989.
- POTTER Norman, Cos’è un designer, Thing Places Messages, Codice Edizioni, 2010.
- SOLANSKI Seetal, Why Materials Matter, Prestel Publishing, 2019.
- TINTI Lorenzo, Collezionare Meraviglia, Sulla Wunderkammer cinque-seicentesca, Bibliomanie.it N. 25 Aprile/Giugno 2011.
Educational objectives The general objective of the Interior Design course is to develop in candidates the ability to methodologically address the phases of analysis, reading, design development and reasoned formulation of an interior design 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 limits imposed by the interior space they will be considering; to be able to demonstrate, through their own project, clear historical and contemporary references discussed within the course; to demonstrate how the research methodology used is visibly reflected in the design methodology employed to demonstrate the ability to work in a team and activate collaborations useful for achieving one's own project objective; to 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, expected results
Prerequisites Basic knowledge of 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 explanations of the semantic variables involved in interior design and the relative use of materials, light and space.
In the second part of the course, instead, there will be lessons in laboratory form dedicated to the collective and individual revision of the students' work. Interior studies will be hosted throughout the year as testimonials of 'design culture'.
Learning verification modality The examination tests require students to present the work required as the objective of the course. The lecturers on the committee comment on 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 subsequent conduct 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 two types of representation.
Written. The space is to be described in detail only through the writing of a text. The reference to be taken into account is Georges Perec's text, Species of Spaces. The originality of the text, the completeness in letting the reader perceive the architectural and relational dimension, the quality of the presentation and the verbal presentation will be assessed.
The language of materials-Antiprimadonna
Antiprimadonna is one of the classic exercises of Basic Design courses, created by Thomas Maldonado in his preparatory courses in Ulm, 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 elicit different sensory experiences, hot, cold, transparency.
Each composition will then have to be photographed using different light conditions: natural (morning), natural (evening), artificial warm, artificial cold.
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 a maximum of
3 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 project 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
Location PERUGIA
CFU 4
Lecturer Paolo Belardi
Lecturers
  • Paolo Belardi
Hours
  • 36 ore - Paolo Belardi
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 concerns the knowledge of the principles of architectural composition.
Reference texts Giò Ponti, Amate l’architettura, Società Editrice Cooperativa, Milano 2004.
Franco Purini, Comporre l’architettura, Editori Laterza, Roma-Bari 2000.
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 drawing and design history.
Teaching methods Theoretical lessons in the classroom on the topics of teaching supplemented by specialized seminars. Periodic reviews processing project in the classroom.
Other information None.
Learning verification modality The exam involves the presentation of graphic works written both individually and in groups. The graphic works are aimed at ascertaining the level of knowledge and the ability to understand and summarize 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 at the building assigned by the teacher.
Obiettivi Agenda 2030 per lo sviluppo sostenibile 7, 11, 13