Architecture

A.A. 2024-25 SURNAME Name Prof. PARTENOPE RENATO e-mail renato.partenope@uniroma.it Collaboratori architetti: Sara Petrolati - Vittoria Silvaggi Course LABORATORIO DI PROGETTAZIONE ARCHITETTONICA III (codice 1035676) CORSO DI LAUREA MAGISTRALE IN ARCHITETTURA - 15893 Canale: 1 Semestre: 2 Credits: 12 Contact Hours 125 Program Subject Teaching support: Assistance activities of collaborators - revisions Attendance: mandatory Teaching delivery: traditional Laboratory program and planning activities From a theoretical point of view, the program is focused on the relationship between History and Design in the experience of architecture. It’s a relationship that arises in the debate and cultural reflection, as well as in the operational practice of urban transformations in Italian cities, in a form that is contradictory and difficult to understand. To investigate the relationship between History and Design, the theoretical contribution that Italian architectural culture has produced in the typological and morphological studies of architecture and the city will be critically addressed. The intermediate dimension of this "thought" will be used to identify the specific expressive categories of our discipline and to indicate those elements that archetypically define it and which cannot be altered or manipulated beyond all limits to adhere to the contemporary winning dimension of the architecture/performance. A complex thought, the typological, and full of pitfalls but also full of adventures being the type, at least in our interpretation the most advanced and experimental field of architectural research. Particular attention will be paid to the aspects related to the representation, expression and communication of values of the architecture even beyond the purely operational purposes established by the project drawings. In the didactic experience proposed, the Drawing, and the autograph one in particular, will be the specific way to materialize the thought of architecture and the way to oppose the phenomenon of regression of the hand that characterizes our era and characterizes in particular the studies that concern architecture.A real site for the development of the project will not be indicated but simply a geometric area measuring 360x360 meters which can be extended to form a golden rectangle depending on the needs imposed by the development of the project. A site will have to be designed for this area, i.e. a support morphologically defined by an artificial "nature" where a small human settlement (settlement module) can be proposed, characterized by the multiple spatialities of living: the space of "being" in a place (residence, work, free time, culture) and that of going or "going out" to move in the space of the form of living proposed at different speeds and distances (roads, paths, circuits). Documents requested 1) General plan and dimensioned sections of the site project (1:1000); 2) General plan (volumetric) and dimensioned sections of the settlement module (1:1000); 3) Typical plans of the settlement module at the most significant altitudes (1:500); 4) Transversal and longitudinal sections of the settlement module (1:500); 5) Elevations with shadows (1:200); 6) Detail (1:50 - 1:20); 7) Perspectives and perspective sections of the internal and external space of the settlement module; 8) Model of a segment of the settlement module (1:500); 9) Three-dimensional model (digital model); 10) Sketchbook and preliminary studies (no less than 50 pages in A4 format).

A basic knowledge of the history of art and architecture is necessary with particular attention to our modernity and post-modernity. Having also developed technical expertise in manual and digital drawing to address the complex problem of the representation of architecture which is believed to be the specific way to invent its forms starting from the historicity of its sign but within a strong experimental tension.

Bibliography - Jameson, Fredric, Il postmoderno, o la logica culturale del tardo capitalismo, Garzanti, Milano 1989. - Partenope, Renato, Architettura in bianco e nero, Iiriti ed., Reggio Calabria 2019. - Purini, Franco, Discorso sull’Architettura. Cinque itinerari nell’arte del costruire, Marsilio Editori in Venezia, 2022. - Valery Paul, Tre dialoghi (Eupalinos o l'Architetto), Einaudi, Milano, 1990. - Philip Kerr, Gabbia d’Acciaio, Rizzoli, Milano, 1996 Other references will be suggested during the experience of the Laboratory.

Method of examination The evaluation will be carried out on the contents and the quality of the works produced inside and outside the Laboratory hours. The practical activities carried out and documented (drawings, sketches, study models, etc.), the acquired knowledge of the theoretical themes addressed in the lessons and in the study of the recommended books will be evaluated. - Oral examination - Assessment of project 1) General plan of the state of fact and of the project (1: 1000); 2) Sections and profiles listed on the status of fact and project (1: 500); 3) Project plans at different levels (1: 200); 4) Cross-sectional and longitudinal design sections (1: 200); 5) Elevations with shadows (1: 200); 6) Detail (1:50 - 1:20); 7) Perspectives and perspective sections of internal and external space; 8) Model of the project (1: 200); 9) Three-dimensional model (digital model); 10) Sketchbook of sketches and preliminary studies (not less than 50 pages form A4)

Mandatory. Participation in the Laboratory activities documented by the development of the project will determine the possibility of taking the exam.

Method of examination The evaluation will be carried out on the contents and the quality of the works produced inside and outside the Laboratory hours. The practical activities carried out and documented (drawings, sketches, study models, etc.), the acquired knowledge of the theoretical themes addressed in the lessons and in the study of the recommended books will be evaluated. - Oral test: verification of understanding of the topics offered by the proposed bibliography. - Evaluation of the documents: verification of the completeness of the representation of the project

Method of examination The evaluation will be carried out on the contents and the quality of the works produced inside and outside the Laboratory hours. The practical activities carried out and documented (drawings, sketches, study models, etc.), the acquired knowledge of the theoretical themes addressed in the lessons and in the study of the recommended books will be evaluated. - Oral examination - Assessment of project 1) General plan of the state of fact and of the project (1: 1000); 2) Sections and profiles listed on the status of fact and project (1: 500); 3) Project plans at different levels (1: 200); 4) Cross-sectional and longitudinal design sections (1: 200); 5) Elevations with shadows (1: 200); 6) Detail (1:50 - 1:20); 7) Perspectives and perspective sections of internal and external space; 8) Model of the project (1: 200); 9) Three-dimensional model (digital model); 10) Sketchbook of sketches and preliminary studies (not less than 50 pages form A4)

1_Contenuti disciplinari dell'insegnamento L’obiettivo del corso è quello di stimolare il senso critico dello studente attraverso l’uso di nozioni e strumenti in grado di facilitare il processo di comprensione di un’opera architettonica nella sua dimensione plurisensica e multidisciplinare. Il corso ha il fine di educare lo studente ad integrare le parti di un’opera architettonica secondo un sistema di relazioni non soltanto compositivo, ma cognitivo. Lo studente dovrà imparare a leggere il territorio nella sua dimensione architettonica, storica e sociale, al fine di sviluppare progetti integrati che tengano conto delle istanze proveniente dal basso. In dettaglio si intende porre l’attenzione sul progetto di architettura anche come messaggio consapevole ed espressione poetica, sul rapporto tra l’opera ed il luogo in cui si interviene, tra la memoria storica e la lettura interpretativa della morfologia urbana e territoriale, tra l’astrazione delle strutture formali e la costruttività dell’architettura e questo tenendo presenti le continue interpolazioni tra le diverse necessità; più in generale tra la storicità delle motivazioni e la soggettività delle scelte del progettista nelle varie culture del progetto nella condizione attuale. 2_Strumenti di insegnamento (teorici, operativi, istituzionali, monografici) L’attività del corso seguirà le fasi previste dal laboratorio facendo particolare attenzione a che il progetto finale sia il risultato ultimo di un processo attento all’analisi del rapporto “forma/contenuto”, “storia/innovazione”; e tra il ricorso a modelli tipologici di riferimento ed il loro superamento con le nuove esigenze sopravvenute, tra l’uso dei materiali e le loro prestazioni, e riesca, attraverso tutta una serie di variabili, a fare interagire questi fattori con la concezione base del progetto. 3_Fasi di svolgimento e organizzazione Il lavoro si svolge fondamentalmente in aula e segue le fasi previste dal laboratorio. Da un lato si conduce un lavoro di analisi e di lettura di progetti ed esperienze concrete, teso a chiarire con la comparazione di esempi diversi, i caratteri formali delle opere in esame e la loro attitudine a fornire materiale per una nuova progettazione architettonica, dall’altro si segue lo sviluppo della proposta progettuale e la continua verifica dell’ipotesi scelta. Lezioni, illustrazioni di opere architettoniche ed esercitazioni seminariali saranno di supporto allo svolgimento del tema prescelto. Il materiale iconografico come pure un’accurata bibliografia verrà consegnata contestualmente agli esempi proposti, così come negli incontri seminariali verrà suggerita una traccia del lavoro da eseguire attraverso la proposta di alcuni temi progettuali sui quali ragionare.

The Architectural Design Laboratory II exam is preparatory.

Benevolo Leonardo, La Storia dell’architettura moderna terza, Bari 1960 De Fusco Renato, Storia dell’architettura contemporanea, Laterza Bari 1975 Frampton Kenneth, Storia dell’architettura moderna, Zanichelli Bologna 1986 Patella Luciano, Storia dell’architettura, antologia critica, Etas Zevi Bruno, Storia dell’architettura moderna, Einaudi Editori Angeletti P.-Bordini V. Terranova A., Fondamenti di Composizione Architettonica, NIS, Roma 1977 Pepe Barbieri, Infraspazi, collana Babele, Meltemi, 2006 Valter Bordini, L’architettura dell’inquietudine, Allemandi 2006 Cao Umberto, Elementi di progettazione architettonica, Laterza, Bari 1995 Bruno Zevi, Saper vedere l’architettura, Giulio Eiunaudi Editore, 2009 Paolo Portoghesi, Natura e Architettura. Abitare la terra, Kappa Roma 2005 Franco Purini, Comporre l’architettura, Laterza Franco Purini, L’architettura didattica, Gangemi 2002 Herman Hertzberger, Lezioni di architettura, Laterza Bari 1996 Rem Koolhaas, Junkspace, Quodlibet, 2006 Le Corbusier, Verso una Architettura, Longanesi & C. Milano 1984 Norberg- Schultz Christian, Genius Loci- Paesaggio ambientale architettura, Electa, Milano, 1992 Ludovico Quaroni, Progettare un edificio, Gangemi, Milano 1993 Ludovico Quaroni, La Torre di Babele, Marsilio Editori, Padova 1967 Rossi Aldo, L’Architettura della Città , Clup, Milano 1983 Rossi Aldo, Scritti scelti sull’architettura e la città ,Clup, Milano 1975 Rossi P.O, La Costruzione del progetto, Laterza, 1996 Venturi Robert, Complessità e contraddizioni nell’architettura,Dedalo, Bari 1991

The course is held in Valle Giulia Tuesday 8.30am - 2.00pm Room 18 Thursday 8.30am - 2.00pm Room 2

ATTENDANCE IS COMPULSORY FOR THE COURSE

Benevolo Leonardo, La Storia dell’architettura moderna terza, Bari 1960 De Fusco Renato, Storia dell’architettura contemporanea, Laterza Bari 1975 Frampton Kenneth, Storia dell’architettura moderna, Zanichelli Bologna 1986 Patella Luciano, Storia dell’architettura, antologia critica, Etas Zevi Bruno, Storia dell’architettura moderna, Einaudi Editori Angeletti P.-Bordini V. Terranova A., Fondamenti di Composizione Architettonica, NIS, Roma 1977 Pepe Barbieri, Infraspazi, collana Babele, Meltemi, 2006 Valter Bordini, L’architettura dell’inquietudine, Allemandi 2006 Cao Umberto, Elementi di progettazione architettonica, Laterza, Bari 1995 Bruno Zevi, Saper vedere l’architettura, Giulio Eiunaudi Editore, 2009 Paolo Portoghesi, Natura e Architettura. Abitare la terra, Kappa Roma 2005 Franco Purini, Comporre l’architettura, Laterza Franco Purini, L’architettura didattica, Gangemi 2002 Herman Hertzberger, Lezioni di architettura, Laterza Bari 1996 Rem Koolhaas, Junkspace, Quodlibet, 2006 Le Corbusier, Verso una Architettura, Longanesi & C. Milano 1984 Norberg- Schultz Christian, Genius Loci- Paesaggio ambientale architettura, Electa, Milano, 1992 Ludovico Quaroni, Progettare un edificio, Gangemi, Milano 1993 Ludovico Quaroni, La Torre di Babele, Marsilio Editori, Padova 1967 Rossi Aldo, L’Architettura della Città , Clup, Milano 1983 Rossi Aldo, Scritti scelti sull’architettura e la città ,Clup, Milano 1975 Rossi P.O, La Costruzione del progetto, Laterza, 1996 Venturi Robert, Complessità e contraddizioni nell’architettura,Dedalo, Bari 1991

The Architectural Design Laboratory is set on the dialectic between two fundamental terms of architectural temporality: ancient and modern. By its very nature, architecture derives from what already exists, whether in its natural, artificial or even hypothetical state. The conformation of nature influences the construction of the new, as well as the architecture already built or those only conceived and designed. The existing, real or hypothetical, has the strength to condition what must be realized; indeed, it can be affirmed that the new draws nourishment from what pre-exists it, finding in it the measure and the same justification for its physical and constructive appearance. In historical places, such as the city of Rome, the design of the new is necessarily confronted with pre-existing conditions of great importance. This entails the need to establish a continuous mediation between the different eras of construction of the city.In this condition, the new must find a right place precisely in relation to these complexities, to be interpreted from time to time to establish the degrees of adequacy and legitimacy. as it enters the urban scene. The design exercise that the Laboratory proposes to students will be applied to some strategically located areas along the Aurelian Walls that surround the historic center of Rome. With this we want to propose an experiment that can stimulate new readings of the ancient through the new, without establishing a priori temporal predominance. According to this perspective, the story and its physical expressions are conceived as a single constructive story, in which the different episodes are added to each other also in terms of dialectical opposition, but always according to an idea of continuity that witnesses the alternation of the different historical periods. A more detailed indication of the typological, functional and dimensional aspects of the projects to be developed will be provided to students in a specific technical sheet, together with an indication of the localization areas in which they will be applied. The ancient / modern project theme referred to the Aurelian Walls of Rome is part of a three-year program of the Architectural Design Laboratory. Through this work we want to explore the possibilities of giving a new role to marginal, degraded or underused spatial areas, through the establishment of new building systems with strong recognisability, as fulcrums of new activities for collective use. The works of the three-year period will develop as many functional themes, addressed from different problematic angles and applied in different localization areas, in order to provide a contribution to the more general problem of urban regeneration.

The student can enroll in the Architectural Design Laboratory 3 if he/she has respected the prerequisites of the subjects foreseen in his/her course of study and if he/she has taken the exam or obtained the certificate of attendance of the Architectural Design Laboratory 2. The student must have the basic knowledge on: - the architectural design representation systems; - the technological and constructive aspects of the architectural project; - the foundations of the history of architecture and of the city.

- Carlos Martí Arís, Le variazioni dell’identità. Il tipo in architettura, Milano, 1990. - Antonello Monaco, Architettura aperta. Verso il progetto in trasformazione, Roma, 2004. - Rafael Moneo, Inquietudine teorica e strategia progettuale nell'opera di ottoarchitetti contemporanei, Milano, 2005. - Ludovico Quaroni, Progettare un edificio. Otto lezioni di architettura, Milano, 1977. - Bruno Zevi, Saper vedere l'Architettura. Saggio sull'interpretazione spaziale dell'architettura, Torino, 1948.

The didactic organization of the course provides for the constant presence of students and an ongoing commitment throughout the academic year. The activities that will take place in the classroom will consist of lectures on general aspects concerning the contemporary architectural debate, specific communications related to the project themes and design exercises that will affect individual spatial themes and which will flow into the elaboration of the final project of the course. In order to take the final exam, it is mandatory to have participated in at least 70% of the activities carried out in the classroom and to have complied with all the deliveries of the required documents, according to the methods and terms established by the teacher.

The papers to take the final exam of the Laboratory will consist of: - tables in A2 format (cm. 42.0x59.4), with vertical arrangement - possibly juxtaposed for larger representations -, mounted on a rigid support (polyplat type), 3 mm thick. More information on the composition of the tables will be provided by the teacher in a specific sheet. - models, developed according to the methods and scales indicated by the teacher during the course. - cd-rom / usb containing all the papers presented for the exam. The study of a book, chosen from among the theoretical reference texts listed in the course Bibliography, is also required.

PREMISE The educational aim of the workshop, in line with the general approach of the degree Course, is to help the student to carry out a complete experience that deals with the complex problems of the architectural project. This, starting from a guided experience on a topic of controllable dimensions that, however, contains all the variables useful for the formation of a framework of disciplinary references that can be traced back both to the urban dimension and, in the specific year of the Laboratory, to the topic of the build-ing. MAIN GOALS OF THE LABORATORY The Laboratory is the place of design experience, in which the themes of theoretical-critical reflection will have to find immediate practical and operational confrontation. A didactic space within which to provide the tools capable of giving shape and figure to the relationships that exist between the moment of conception and that of construction, trying to understand through which modalities of disciplinary translation and technological mediation the project takes shape. Other training objectives, in addition to those of a general nature set out in the introduction, are: 1. Reasoning on the different scales, in a circular inductive and non-linear deductive process through patient work across the different dimensions of design. 2. To root in the students the conviction that the project should never be considered as an abstraction from reality, and spe-cifically from construction, and that it should continually refer to tectonics, techniques, technologies and more generally to all the material reasons that determine and reverse it. 3. Learning to work with a defined functional programme, with established and binding volumetric indexes and data, which are compatible with the instruments of control and government of the territory, translating the programme into morphological and spatial qualities starting from the concreteness of the design opportunity. 4. To use the design experience and specifically the design "references" as opportunities for a continuous comparison with the trends and languages of modern and contemporary architecture. The Laboratory aims to initiate students in the understanding of the processes of architectural design through the simulation of a study experience "in the field", to refine the tools of the architect's work in the real context of the city. This means considering the project as the result of a cognitive process that considers the physical (morphology of the urban fabric, building typology, quality, and quantity of public and semi-public spaces) and anthropological (inhabitants, practices, conflicts) components of the neighbour-hood, in order to learn how to select the materials for the project and simulate a design process that takes into account the people who will use that place and that building. THEORETICAL ISSUE The theoretical theme of the workshop is the concept of Mediterranean 'urban porosity', understood as the interpenetration of places, flows, times, and populations. A spatial, temporal, and social concept identified in 1924 by Walter Benjamin and Asja Lacis in the chaotic context of Naples, where they noted a 'profound interpenetration of day and night, of festive day and weekday, of silence and noise, of street and home, as the fabric that characterizes its everyday aspects'. A definition born from the observation of the tuffaceous rock on which the city's buildings are grafted, and then extended to the entire metropolis and its architecture, thus understood as a "synthesis of community rhythm", in which everything is interpenetrated in the transition between rock, walls, streets, squares, houses and monuments: «The architecture is as porous as this stone. Construction and action interpenetrate in courtyards, arcades and staircases. Every-where, space is maintained so that it can become the scene of new, unforeseen circumstances. What is final and formed is avoided. No situation appears to be as it is, designed for all time, no form declares its "so and not otherwise". This is how architecture devel-ops here as a synthesis of the community rhythm: civilised, private and ordered only in the large hotels and quayside warehouses - anarchic, rustically interwoven in the centre, where just forty years ago people began to dig up large roads» . This description interests us not only as a source of compositional inspiration, but also because, in the incoherent and informal spaces of contemporary metropolitan suburbs in which we operate, there coexists a society that is also porous, in which the various social classes interpenetrate in public and private space: «Everyone is divided into an infinite number of simultaneously animated flaps. Balcony, entrance, window, driveway, staircase and rooftop all serve simultaneously as stage and scene. Even the most miserable of existences is sovereign in its obscure awareness of being part [...] of one of the unrepeatable images of the street [...] Private life is fragmentary, porous and discontinuous. [...] Private actions and behaviour are inundated with streams of community life. Existence, which for the northern European is the most pri-vate of affairs, is here [...] a collective matter. [...] Thus the home is not so much the refuge to which people retreat as the inex-haustible storehouse from which they flow. Not only through the doors does life burst forth, not only on the square in front where people do their work. [...] Just as the domestic environment is recreated on the street, with chairs, hearth and altar, so, only much more noisily, does the street penetrate into the interior of the house.» . In contemporary architecture, the concept of the porosity of urban contexts, public spaces and building volumes can be found in the works, on all scales and of all types, of many masters of modern-contemporary architecture, starting with the works of the expo-nents of Team X such as Aldo van Eych, Giancarlo De Carlo and the Candilis-Josic-Woods group, and then encountering it in the ar-chitecture of Lina Bo Bardi, Rem Koolhaas, Bernard Tchumi, MVRDV, Steven Holl and many others. PROJECT THEME Laboratory proposes as a design exercise a complex of special medium-sized residences, aimed at categories of "fragile" citizens (immigrants waiting for work or a residence permit, families, individuals, minors or elderly people in difficulty and in need of pro-tection), integrated with various types of open-air spaces and the natural and environmental context. In other words, a complex with a social character, including cultural, educational, sports and social services, integrated with green areas and open to all citi-zens of all ages. The workshop is also aimed at integrating the elements of architectural design with those more specific to urban design and green areas, and therefore requires the student to use rudimentary tools for analysing the city and the territory. The student is thus re-quired to develop a project that is a synthesis of morphological, distributive, technological and constructive aspects, while also tak-ing into account the social, cultural and sporting needs of the neighbourhood, including a certain degree of fragmentation in the architectural solutions. The choice of a multi-purpose residential complex was made in order to invite the students to begin to focus their design on the need for spaces and facilities suited to life in the contemporary metropolis: a city that is now multi-ethnic and transversal, inhabit-ed by different "urban tribes", which must necessarily be healthy, on a human scale, equipped with bicycle and pedestrian mobility systems and public transport networks. The project is thus conceived as part of a "resilient" urban space adapted to the new health and environmental emergencies that have characterised recent years. The compound to be designed is a sort of "Cité de Refuge", like Le Corbusier's "centre of social services" and residences for the homeless and the indigent, built between 1929 and 1933 in Paris for the Salvation Army, also similar to Lina Bo Bardi's SESC Pom-peia complex of cultural and social services, built between 1975 and 1982 in São Paulo, Brazil. In short, the Roman Cité de Refuge should be a reception Centre for all its inhabitants, Italians and foreigners alike, to create a place of aggregation, integration and healthy coexistence: a reception complex with open, well-equipped public spaces, close to an urban river park; a project that em-phasises certain contemporary aspects of solidarity-based living and social coexistence, such as urban gardens, a direct market, craft activities, places for socialising, culture and basic sports activities for all ages. The design exercise is planned in a series of areas located in the Aniene Park, a natural river reserve bordering the semi-peripheral districts of Montesacro, Ponte Mammolo, Casale Rocchi and Casal Dei Pazzi. A valuable and varied urban quadrangle but, never-theless, lacking in designed public spaces, both mineral and natural. It is a completely informal park, lived in and used creatively by a socially stratified, multicultural, relaxed and sporty population, which has spontaneously built urban gardens, playgrounds, sports fields and relaxation areas without any real plan. A park of great environmental quality in which there are many cultural assets from different periods and natures: Palaeolithic remains, monuments from the Roman era, medieval and Renaissance farmhouses, and remarkable architecture from various periods of the 20th century. All this in an urban area poorly served by public transport, with few bus lines and not too close to metro stations and regional trains, but nevertheless crossed by the so-called GRAB, the Grande Raccordo Anulare delle Biciclette. The exercise will have a first short phase of urban/perceptual analysis of the whole park, to be carried out in groups. In a second phase, also very short, the same group will have to formulate a schematic/diagrammatic urban project of the area, useful to iden-tify the urban pieces, including a sector of the river, in which to place the Complex. The third phase of the work will be the architec-tural design, to be carried out in groups of a maximum of two members, who will also have to carry out part of the work individually. DESIGN GUIDELINES The topic will need to be developed with particular attention to typological, distributive, structural and construction issues, as well as the compositional issues of the aggregation of volumes in space and orientation with respect to the actual site. In addition, par-ticular attention will have to be paid to the needs of users, both in general and local terms, and to the new demands provoked by the Covid 19 pandemic and the environmental emergency, a very pertinent theme also considering the proximity of the Aniene riv-er.

Il Corso foresees the propedeuticità indicate, a good knowledge of the design and the history of modern and contemporary architecture

Methodological reference texts: Quaroni L., Progettare un edificio. Otto lezioni di architettura, Milano 1977. Benevolo L., Un’introduzione all’architettura, Laterza, Milano 2005. Angeletti P., V. Bordini, A. Terranova, Carocci, Roma 1987. Le Corbusier, Verso un’architettura, Longanesi, Milano, 1973. Hertzberger H, Lezioni di architettura, a cura di Michele Furnari, Laterza ed, Roma-Bari 1996.

WORKSHOP PROCEDURE The course will tend to encourage maximum exchange between theoretical lessons, in-depth thematic applications, and student work. The periodic checks on the progress of the work will be mainly collective, in the classroom, by means of audio-visual micro-presentations of the work (power point, video, etc.). The programme thus envisages, in addition to the drafting of the final papers, several collective intermediate checks according to the different stages of the work, which will be organised as follows: Phase A: Visual/perceptual and historical/morphological analysis work | Working groups of 6/8 students Production of materials: 1a- perceptual survey of the area by means of an on-site visit, with restitution through photographs, videos, sketches, models etc; 2a- psychogeography map of restitution of the perceptive analysis.; 3a- conceptual map describing the criticalities/potentialities, the cultural/environmental assets, the urban morphology, the historical development, and any other theme identified by the group. Delivery of the first phase with 70x70 tables and audiovisual presentation of the work. 5 minutes per group, in the classroom. The delivery is mandatory and preparatory to the progress of the work in the workshop. Phase B: Urban scale project | Working groups of 6/8 students Production of materials: 1b- project concept with conceptual scheme/diagram; 2b- conceptual urban model, scale 1:5000; 3b- plan (scale 1:5000) with identification of architectural project areas 4b- 1:2000 urban sections of the selected areas Delivery of the second phase with 70x70 boards and audiovisual presentations of the work of 5 minutes per group, in the classroom. Delivery is compulsory and preparatory to the progress of the work in the workshop. Phase C: Architectural project | Individual work/ groups of 2 students Production of materials: 1c- project concept with scheme/conceptual diagram; 2c- general plans, sections and model of the project in scale 1:1000/1:500; 3c- three-dimensional descriptive drawings of the whole project (axonometries, views, collages); This first part concerns the definition of the relationships at the urban scale and of the overall volume of the project, with elabora-tions that define the architectural artefact. 4c- plans, elevations, sections of a part of the project, in scale 1:100/1:200 (single work for each student); 5c- 3D descriptive drawings such as axonometries, views, collages (individual work for each student); 6c- architectural detail in scale 1:50/1:20 (in case of group work, one for each student). This second part relates to the definition of the building and its morphological and spatial organisation in all its components. Submission of the third phase with 70x70 boards, presentation and discussion in the classroom with external guests. Submission is compulsory and a prerequisite for registration for the final examination. In the Laboratory, the greatest attention must be paid to the care of Architectural Drawing, meaning freehand drawing, automatic drawing, and physical models (maquettes), to complete the students' ability to present themselves graphically and orally. Fur-thermore, a graphic style that avoids realistic three-dimensional representations (render) is considered more appropriate for the communication of architectural projects, in favour of a more synthetic, abstract, "line-based" style. The students are also required to have a thorough knowledge of at least one of the following texts, to be agreed with the lecturers, except for the "basic reference texts from a methodological point of view". To facilitate the student's full understanding and maturation of the subject, the lessons conducted during the teaching semester will be deposited on the course's e-learning site, divided into topics, which in turn will be divided into several micro-lessons. Please note that the topics of the lectures will be the subject of the examination discussion. As a workshop, attendance is compulsory and possibly "in person".

The student will be evaluated on the basis of an average of the results: 1-of the various submissions produced during the Workshop; 2-of the final exercise, assessed both as regards the maturity of the design contents and as regards architectural drawing in all its forms (technical drawings, diagrammatic and three-dimensional descriptive drawings, maquettes); 3- the final discussion, which includes both the presentation of the final project, complete in all its phases, and the knowledge of a recommended text, to be agreed with the lecturer, as well as the topics of the lectures.

Recommended texts (from which to choose the book to be read): 1- General books on architectural theory: Banham R., Los Angeles. L'architettura di quattro ecologie, Torino, Einaudi, 2009) Capuano A., B. Di Donato, A. Lanzetta (cur.), Cinque temi del modernocontemporaneo, Quodlibet, Macerata 2020. Gregotti V., Il territorio dell’architettura, Feltrinelli, Milano, 1966 Koolhaas R., Delirious New York, Electa, Milano 2000. Moneo R., Inquietudine teorica e strategia progettuale nell’opera di otto architetti contemporanei, Milano, Electa, 2005. Neutra R., Progettare per sopravvivere, Edizioni Comunità, Milano 1956. Norberg-Schulz C., Genius Loci. Paesaggio Ambiente Architettura, Electa, Milano, 1979. Rossi A., L’architettura della città, Città Studi Edizioni, Milano 1966. Terranova A., F. Toppetti, Teorie figure architetti del Modernocontemporaneo, Gangemi, Roma 2012. Venturi R., Complessità e contraddizioni nell'architettura, Ed. Dedalo, Bari 1980. Venturi R., Scott Brown D., Izeneour S., Imparare da Las Vegas. Il simbolismo dimenticato della forma architettonica, Quodlibet, Macerata 2010. 2 - Metropolis and Rome: VV.AA., Le Mappe della diseguaglianza. Una geografia sociale metropolitana, Donzelli, Roma 2019. Criconia A. (cur), Una città per tutti. Diritti, spazi, cittadinanza, Roma, Donzelli editore, 2019. Capuano A., Lanzetta A. (cur), #Curacittà Roma. La Sapienza della cura urbana , Quodlibet, Macerata 2020 Cellamare C. (cur.), Fuori raccordo. Abitare l’altra Roma, Donzelli, Roma 2016. Ilardi M., Le due periferie. Il territorio e l’immaginario, DeriveApprodi, Roma 2022. Koolhaas R., Junkspace, Quodlibet, Macerata, 2018. Lanzetta A., Non ci sono strade nella periferia estrema, «asfalto», 2/11/ 2021, https://asfalto.archphoto.it/non-ci-sono-strade-nella-periferia-estrema/ Lanzetta A., Roma informale. La città mediterranea del GRA, Manifestolibri, Roma 2018. S.M.U.R., Roma città autoprodotta. Ricerca urbana e linguaggi artistici, Manifestolibri, Roma 2014. 3- About “porosity”: Benjamin W., A. Lacis, Napoli, in W. Benjamin, Immagini di città, Einaudi, Milano 2007. Benjamin W., A. Lacis, Napoli porosa, Dante e Descartes, Napoli 2020. Holl S., Parallax. Architettura e percezione, Postmedia Books, milano 2005. Lanzetta A., Opaco Mediterraneo, Modernità informale, Libria, Melfi 2016. Lanzetta A., Barcellona/ESP. Lo spazio pubblico al centro della politica, in F. Toppetti, L.V. Ferretti, (edited by.) La cura delle città. Politiche e progetti, Quodlibet, Macerata 2020. The Why Factory (W. Maas, A Ravon), Porocity. Opening up Solidity, nai010 publishers, Rotterdam, 2018. Wolfrum S. et al., Porous City: From Metaphor to Urban Agenda, Birkhauser Architecture, Basel, 2018. 4 - About the 'pandemic city' VV.AA., Pandemic City, «archphoto 2.0», n. 07, 2021. Lanzetta A., Biopolitica e paura. Fine dello spazio post-moderno?, in: «archphoto.it, 18/03/2020, https://www.archphoto.it/archives/5583 Lanzetta A., L’ossessione della natura in città, «asfalto», 2/03/2021, https://asfalto.archphoto.it/ossessione-della-natura-in-citta/ 5- Filmography Berlino. Sinfonia di una grande città (Berlin - Die Sinfonie der Großstadt), regia di Walter Ruttmann, Germania, 1927 https://www.youtube.com/watch?v=TVqPoV9q4ck&ab_channel=BERLINCHANNEL Blow up, regia Michelangelo Antonioni, Italia - Regno Unito - Stati Uniti d'America, 1966 Homo Urbanus- 1-10, di Ila Bêka e Louise Lemoine, France, 2017-2022 https://vimeo.com/ondemand/homourbanus L'année dernière à Marienbad (L’anno scorso a Marienbad), regia di Alain Resanais, Francia-Italia, 1961 La riappropriazione della città, di Ugo La Pietra, Ed. Centre Georges Pompidou, Parigi, 1977 https://www.youtube.com/watch?v=77JcWziPJbU&ab_channel=UgoLaPietra Mon Oncle (Mio zio), regia di Jacques Tati, Francia, 1958 Pasolini- "La forma della città, regia di Paolo Brunatto, Italia, 1974 https://youtu.be/btJ-EoJxwr4 Play Time (Tempo di divertimento), regia di Jacques Tati, Francia-Italia, 1967 Reyner Banham Loves Los Angeles, di Reyner Banham, BBC, 1972 https://www.youtube.com/watch?v=WlZ0NbC-YDo&ab_channel=TylerGoss