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.
Fabrizio Arrigoni, Fogli. Scritture per l’architettura, Didapress, Firenze 2018.
Fabrizio Arrigoni, Sinopie. Architectura ex atramentis, Die Neue Sachlichkeit, Colonia 2011.
Fabrizio Arrigoni, Arrigoni Architetti, 000_010 progetti, Blurb.com, San Francisco (Ca) 2010.
Su Pisa:
Emilio Tolaini, Forma Pisarum, Pisa 1979.
Emilio Tolaini, Pisa, Laterza, Roma Bari 1992.
Massimo Carmassi, Pisa: il recupero delle mure urbane, ridefinizione dell’immagine urbana attraverso il recupero della cinta medievale, in “AU”, V, n. 13, 1985; pp. 38-51.
Sul teatro:
Peter Brook, The Empty Space, Mac Gibbon & Klee, London 1968 (trad. it. di R. Petrillo, Il teatro e il suo spazio, Feltrinelli, Milano 1968).
Raimondo Guarino, Il teatro nella storia. Gli spazi, le culture, la memoria, Laterza, Roma Bari 2005.
Cesare Molinari, Storia del teatro, Laterza, Roma Bari 2008.
Sul tipo architettonico:
Allardyce Nicoll, The Development of the Theatre. A Study of Theatrical Art from the Beginnings to the Present Day, Harrap & Co., London 1927.
Franco Mancini, L’evoluzione dello spazio scenico. Dal naturalismo al teatro epico, Dedalo, Bari 1975.
Richard and Helen Leacroft, Theatre and Playhouse. An Illustrated Survey of the Theatre Building from Ancient Greece to the Present Day, Methuen, London and New York 1984.
Fabrizio Cruciani, Lo spazio del teatro, Laterza, Roma Bari 1992.
Mario Panizza, Edifici per lo spettacolo, Laterza, Roma Bari 1996.
Su Massimo Carmassi:
Massimo Carmassi, Progetti per una città. Pisa 1975-1985, Electa Firenze, 1986.
Marco Mulazzani, Massimo e Gabriella Carmassi. Opere e progetti, Electa, Milano 2004.
Massimo Carmassi, Pisa. Ricostruzione di san Michele in Borgo, Università IUAV di Venezia, Il Poligrafo, Padova 2005.
Massimo e Gabriella Carmassi, numero monografico “Costruire in laterizio”, n. 99, Roma maggio/giugno 2004.
Lorenzo & Massimo Carmassi, numero monografico “Costruire in laterizio”, n. 127, Roma gennaio/febbraio 2007.
Manuali tecnici:
Ernst Neufert, Enciclopedia pratica per progettare e costruire, Hoepli, Milano 1999.
Andrea Deplazes, Costructing Architecture: Materials Processes Structures, Birkhäuser Verlag, Basel 2008.
Learning Objectives - Part B
Teaching goals concern learning the main instruments and strategies for architectural design principles and methods. They will be tested in the design of an architectural organism 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
Goal of the workshop is to test the knowledge acquired by the students at the end of their training, verifying the ability to translate it into a complex design exercise in its conceptual and material frameworks.
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, good skills in hand drawing and computer drawing, good knowledge of computer programs and architectural history.
Prerequisites - Part D
Those included in the course of studies.
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 school of music, in a difficult neighborhood, chosen among the few 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.
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 three students.
Further information - Part D
The course includes three exercises to be held during the semester.
1 - Repertorio
Each work group must agree on the study of contemporary or twentieth-century theatre. The analysis will be presented according to the layout. The set of case studies will define a repertoire.
2 - 10 Slides
Each work group will present a projection (power-point/pdf) titled 10 Slides.
Slide 0: Header, names of the authors, motto of the project proposal.
Slides 1-5: spatial hermeneutical exercises - interpretation of place and type.
Slides 6-10: highlights of the current project (konzept).
The tools used will be photography, drawing, three-dimensional model, conceptual diagram, quotation (cinema, visual arts, literature, etc.).
3 - Red Notebook
The compilation of the notebook follows a procedure signed by Ettore Sottsass on the magazine "Domus" and then collected in the book "Foto dal finestrino" (Adelphi 2010). Short writings (quotations, descriptions, original writings, etc.) to which will be associated small photographic images printed on paper. The iconographic material - original or taken from magazines, volumes, catalogues, printed matter - can be the result of a montage (papier collé, montage, photomontage, mixed media). Title/subject: "The theatre, the city, the representation". References can be extracted from visual arts (painting, cinema, photography, video art, graphics), plastic arts (landscaping, urbanism, architecture, sculpture, design), writing (literature, philosophy, poetry). Support: notebook with red cover moleskine size 12.8x21 cm. (white sheet). All pages of the notebook must be used. The exercise is individual (in the notebook must be the name of the author and e-mail address).
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 1:500/1:200 - 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 (photos/drawings of: Repertorio, 10 slides), 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.
Course program - Part B
ARCHITECTURAL DESIGN STUDIO V
PROF. ARCH. FABRIZIO ROSSI PRODI
The design activity concerns a medium size music school, including individual study/lesson spaces (for both individuals and small groups), an auditorium with 100-150 seats for general practice, some classrooms for theoretical communication, a library, reception spaces, secretariat, relationship and meeting. The student will be free to modify the program by adapting it to specific purposes that he/she can propose.
The student will have to reflect on the themes of landscape and urban landscape, settlement principles, artistic and musical practice, places of cultural production, acoustics.
The music school will be built in an area chosen by the student among three alternatives: 1) Murate Infill – on Murate parking place along viale Giovine Italia; 2)Lungarno – Along the river Arno in Lungarno Pecori Giraldi /Lungarno del Tempio; 3)San Domenico – in the lot occupied by old Camerata hospital to be demolished (via della Piazzola/via di Dan Domenico).
1) Annigoni: located between Viale Giovine Italia, Via dell' Agnolo and Via Paolieri; 2)Michelangelo: located between Viale Michelangelo, Piazzale Michelangelo and the Iris garden; 3)San Domenico: locatged in the Fiesole Music School (replacing an existing pavilion).
The activity will be carried out individually or in pairs at most. The project must be design according to scale 1:100 in at least 6 70x70 cm (or similar) sheets with one or two monochromatic drawings per sheet, including planimetry (1:200/1:500), plans, at least one perspective section, two elevations and one view, as well as a 1:100 scale model, and an A4 document (even several sheets) showing conceptual schemes illustrating the founding criteria of the project.
During the examination the student must also present a cahier with the drawings developed during the theoretical lessons and the projects taken as reference.
To be eligible for initial revisions (until 11 November) the student must submit in paper format a planimetric/planivolumetric plan, conceptual schemes, first hypotheses of plan aggregation in scale 1:200, section and a 3D model (in digital format); to be eligible for subsequent revisions the student must produce at least plants 1:100,1 section, 1 elevations, (all in paper format) in addition to the study model.
Course program - Part D
Topic
It is planned to create a theater in the city of Pisa for an audience of three hundred people (drama, chamber music, recitals, etc..). The main function must be associated with activities related to the life of the neighborhood and the city (workshops, acting school, cafeteria). The lot under study is surrounded by the lungarno Galileo Galilei, via Giovanni Bovio, and the green area consisting of the rampart of the new fortress. The project will have to satisfy two specific needs: on the one hand, it will present itself as a new "fatto urbano" settled along the Arno river and destined for the public life of the city; on the other hand, it will have to safeguard the possibility of crossing it in the direction of the eighteenth-century walkway, the southern Bastion and the nearby Scotti Garden (the reorganization of these wide open spaces is not the subject of the project). The net areas indicated in the functional programme must be respected with an admitted tolerance of 10% (greater and/or lesser). Accessory functions and areas intended for circulation/distribution have not been counted in order to favour a free interpretation of internal spaces. The rooms may have their own gardens, courtyards and open spaces.
General information
Elevator and/or pedestrian ramps of adequate size, to allow the connection of the various levels of the building, according to what is established by the regulations in force on the removal of architectural barriers.
minimum height of the laboratories: 450 cm;
Minimum height of the large test room: 700 cm;
Minimum height of service areas: 240 cm;
minimum height of the rooms: 300 cm.
Accessibility
The independent operation of the laboratories, the multipurpose room and the cafeteria should be guaranteed, and separate entrances should be provided for the various users (artists, administrative staff, technicians, the public).
Lighting
When this is consistent with the intended use, natural light should preferably be used.
The hall and the stage machine
The hall of the new theatre must accommodate 300 seats and can be articulated drawing on different types (with gallery, with a single stepped floor, with boxes and a suitably inclined floor). The ceiling and side walls must be suitable for the perception of the stage and good acoustics of the environment. In addition to the functions listed in the legend, the location of the scene also provides:
minimum height of the stage tower 2200 cm;
minimum height of the under-stage 300 cm;
minimum height of the proscenium 700 cm;
Minimum height of the technical walkway 800 cm.
External accommodations
The proposal should provide for an overall reorganization of the site where the building stands, with respect to the minimum distances from the windows of existing buildings and the alignment of the blocks. No specific parking spaces should be provided, but a loading/unloading area should be provided near the independent accesses to the depots/warehouses. Particular attention must be paid to the design of the corner overlooking the Arno river.