Building engineering and architecture

1) Greek architecture: the architectural orders. The trilithic system and the problems of the building site. The Greek temple: origin and typological definition. Sacred area, public area (Acropolis, Agorà). Acropolis of Athens. Paestum basilica, Parthenon, Erechtheion, Propylaea, temple of Zeus at Olympia, temple of Apollo Epicurius at Bassae. The building site: the organization. Relationship between structure and decoration. Relationship between landscape and architecture. The building themes of the house and theater. 2) Roman architecture: wall structures: the opus. The arch, vaults and domes. The architectural order framed by the arch, the matrix of Roman architecture. The triumphal arches and urban gates. Urban nodes: the Forum Augustus, of Nerva, of Trajan in Rome, the Markets and the Hall of Trajan. The Temple of Fortuna Primigenia in Palestrina: the different conception of space and environmental insertion. Domes (simple systems and complex aggregations): the Pantheon, the Domus Aurea, the Villa Adriana complex. The temple of Minerva Medica. Large cross-ribbed covered spaces: the baths of Diocletian and Trajan, the basilica of Maxentius. Typological-formal aspects of the new building themes: the theater, the amphitheater, the baths: the theater of Marcellus and the Flavian amphitheater (Colosseum). The building site: organization. Relationship between supporting structure and decoration. 3) Early Christian and Byzantine architecture: the early Christian basilica (genesis and development): St. Peter's, St. John Lateran, St. Agnes, St. Mary in Cosmedin, St. Sabina. Ravenna: S. Apollinare in Classe and S. Apollinare Nuovo. The evolution of Byzantine domed space; S. Vitale in Ravenna, S. Sophia in Constantinople. Early Christian basilicas in Milan and their typological influences on Byzantine architecture in Ravenna. 4) Early medieval architecture: Carolingian renaissance and Ottonian architecture. Genesis of Romanesque architecture: experiences from the 9th to the 11th century. Evolutions of Byzantine domed space. 5) Romanesque architecture: the European character of Romanesque artistic culture, the transition from wooden to vaulted roofing: St. Michael's in Hildesheim. Vaulted systems: St. Philibert at Tournus, Notre Dame at Poitiers, the abbey at Cluny; the bay set on the cross vaulted plan: basilica of Magdalene at Vezelay. The domed churches of Aquitaine: St-Front at Perigueux. The building site: organization. 6) Romanesque in Italy: historical, social, religious and political assumptions of the time. Characters of Romanesque architecture in the Lombard-Emilian area: the Cathedral of Modena, S. Fedele in Como, S. Michele in Pavia; Sant'Ambrogio in Milan. Byzantine influences: S. Marco in Venice. Piazza del Campo in Pisa: the Cathedral, the Baptistery, the Bell Tower. S. Miniato al Monte in Florence. S. Nicola in Bari. The abbeys of Chiaravalle, Casamari and Fossanova. 7) Gothic architecture in Europe: the gradual evolution from Romanesque to Gothic: Durham Cathedral. The constructive researches, formal transformations and spatial peculiarities of the Gothic cathedral: Laon, Noyon, Notre Dame and the Sainte Chapelle in Paris, Chartres, Amiens, Reims. The three phases of typological and structural elaboration of the Gothic in England: the early English, the decorated and the perpendicular. The major cathedrals. 8) The architecture of the 13th and 14th centuries in Italy: historical, social, religious and political assumptions of the time. The Florentine tradition: S. Maria Novella, S. Croce, S. Maria del Fiore, S. Miniato al Monte, S. Fortunato in Todi, the Cathedral of Siena, the Cathedral of Orvieto, the basilica of S. Francesco in Assisi. Civil buildings. 9) The architecture of the Renaissance: introduction to the Renaissance: notes on the concept of humanism and renaissance. The return to the classical tradition and philological research on ancient texts. The role played by the great creative personalities: Brunelleschi, Donatello, Masaccio and Alberti. The building site in the Renaissance: organization, scaffolding, machines. Filippo Brunelleschi: the cultural formation. The works: Sacrestia Vecchia, Ospedale degli Innocenti, S. Lorenzo, S. Spirito, dome of S. Maria del Fiore. Leon Battista Alberti: the treatise writer and cultural formation. The works: Tempio Malatestiano in Rimini, Sant' Andrea and S. Sebastiano in Mantua, facade of S. Maria Novella and Palazzo Rucellai in Florence. 10) Urban interventions and the ideal city: Pienza, Urbino, Mantua, Ferrara. The trattatistica and the Renaissance city. 11) Sixteenth-century architecture: main articulations: classicism, mannerism, synthetism. a) The masters of early 16th century Rome: Donato Bramante, Raphael Sanzio, Giulio Romano, Baldassarre Peruzzi, Antonio da Sangallo the Younger. Donato Bramante: major works: S. Maria presso S. Satiro and the tribune of S. Maria delle Grazie in Milan. The move to Rome and the study of antiquity: cloister of S. Maria della Pace, courtyard of the Belvedere in the Vatican, project for S. Pietro in the Vatican, tempietto of S. Pietro in Montorio, Caprini palace, choir in S. Maria del Popolo. Raphael Sanzio architect: main works: Chigi chapel in S. Maria del Popolo, design for S. Pietro in the Vatican, Villa Madama, Palazzo Vidoni-Caffarelli, Palazzo Branconio dell'Aquila. Mannerism and Giulio Romano: activity in Mantua: palazzo Te. Baldassarre Peruzzi: designs for S. Pietro in the Vatican and S. Giovanni dei Fiorentini; palazzo Massimo alle Colonne, villa Farnesina. Antonio da Sangallo the Younger: current interpretations of his formative activity and his new contribution to civil and religious architecture. Major works: palazzo Baldassini, palazzo Farnese, facade of the church of S. Spirito in Saxia, design for S. Pietro in the Vatican, S. Giovanni dei Fiorentini. b) Michelangelo's presence in Florence and Rome: major works: the Laurentian Library and Medici Chapel in Florence; Michelangelo's St. Peter's, the arrangement of the Capitoline Hill, Sforza Chapel in S. Maria Maggiore, S. Giovanni dei Fiorentini. c) Aspects and trends of the mid-sixteenth century: the work of Jacopo Barozzi da Vignola: St. Andrew's on the Via Flaminia, St. Anne of the Palafranieri in the Vatican, Church of Jesus, Villa Giulia, Farnese Palace in Caprarola. d) Late sixteenth-century Rome: Martino Longhi the Elder: tower in Campidoglio, Cesi palace in Via della Conciliazione, S. Girolamo degli Schiavoni. Giacomo della Porta: facade of the Gesù, S. Maria in Scala Coeli alle Tre Fontane, S. Paolo alle Tre Fontane. Civic buildings. Domenico Fontana: the Sistine Plan of Rome, facade of the Lateran Palace and Scala Santa, Sistine Chapel in S. Maria Maggiore. Flaminio Ponzio: basilica of S. Sebastiano outside the walls, the Pauline chapel in S. Maria Maggiore. Francesco da Volterra: the church of S. Giacomo degli Incurabili. 12) Research of the Veneto area: Sansovino, Sanmicheli and the role of Andrea Palladio. Andrea Palladio's cultural formation. The theme of the Venetian villas: villa Trissino, villa Maser, villa Capra. The civil buildings: basilica of Vicenza, palazzo Chiericati, palazzo Thiene. The religious buildings: churches of S. Giorgio Maggiore and the Redeemer. 13) Baroque architecture in Rome: critical events and the birth of the concept of "baroque." The search between innovation and continuity and the influence of Italian masters on European experiences. The judgments of neoclassical critics. Gian Lorenzo Bernini architect and his poetics. The conceptual interpretive idea of "enhanced truth." Major works: the Baldacchino and the altar of the Cathedra in St. Peter's in the Vatican, the Colonnade and the arrangement of St. Peter's Square, the Scala Regia, Sant'Andrea al Quirinale, Church of the Assumption in Ariccia; Palazzo Barberini, Palazzo Montecitorio and plans for the Louvre. Fountains and the relationship between nature and art: fountain of the Four Rivers and Triton. Francesco Borromini and his particular research. The poetics of "con-fusion" in the conception and commission of spatial geometry. Principal works: S. Carlino alle Quattro Fontane, Oratorio di S. Filippo Neri, Sant' Ivo alla Sapienza, Sant' Agnese in Piazza Navona, intervention in S. Giovanni in Laterano. Pietro da Cortona architect and his poetics. The search for "metaphorical language." Principal works: S. Maria della Pace, Santi Martina e Luca, S. Maria in via Lata.

The prerequisites for the course include the capability to read architectural drawings: as this is a laboratory-based course, students should know the basics of technical drawing in order to understand the various representations of architectural organisms, such as plans, elevations and sections.

The aim of the course is to provide students with an adequate methodology for approaching the study of architecture, to stimulate an initial capacity for historical-critical reading and, above all, to facilitate a methodological and formative way of learning. Precisely for this reason, the course does not provide a single textbook, but indicates a number of them whose consultation is considered useful for an adequate knowledge of the topics that will be covered in the lectures (together with an optional bibliography for possible further study). - A.A. V.V., Lineamenti di Storia dell’architettura, Sovera Ed., Roma 2013, 692 pp - R. MARTA, Architettura romana. Tecniche costruttive e forme architettoniche del mondo romano, Ed. Kappa, Roma 1990 - S. BETTINI, Lo spazio architettonico da Roma a Bisanzio, Ed. Dedalo, Bari 1983 - G. C. ARGAN, L’architettura italiana del ‘200 e ‘300, Ed. Dedalo, Bari 1978 - W. LOTZ, L’Architettura in Italia 1500-1600, a cura di D. Howard, Rizzoli Ed., Milano 1977 - R. WITTKOWER, Arte e Architettura in Italia 1600-1750, Einaudi Ed., Torino 1995 (vedere soprattutto i capitoli dedicati all’architettura).

Il corso tende a fornire allo studente una metodologia adeguata di approccio dello studio dell’architettura, a incentivare una iniziale capacità di lettura storico-critica ma, soprattutto, ad agevolare un apprendimento di natura metodologica e formativa. Queste competenze di carattere metodologico e formativo possono essere così riassunte: capacità di fare ricerca, di lavorare in gruppo, di pianificare e gestire progetti o specifiche attività di studio; capacità di risolvere problemi, di sviluppare idee in modo originale e creativo; capacità argomentative, analitiche, critiche e di sintesi.

The course is divided into lectures, exercises and laboratory. Attendance is as follows: - Lectures and exercises: attendance is strongly recommended; - laboratory: obligatory attendance.

The examination is the concluding phase of a methodological acquisition work developed over the duration of the course. A minimum mark of 18/30 is required to pass it. The student must demonstrate that he/she has acquired a sufficient knowledge of the topics covered (or, for those who were unable to attend, of the material made available); a basic knowledge of the themes and works analysed during the laboratory activity; the ability to argue, using appropriate language, about the characteristics of a work of architecture. In order to obtain a mark of 30 or 30 cum laude, the student must demonstrate that he/she has acquired an excellent knowledge of all the topics covered during the course and that he/she is able to relate them logically, coherently and with critical capacity.

- R. MARTIN, Architettura greca, Electa, Milano 1997 - G. ROCCO, Guida alla lettura degli ordini architettonici antichi. I. Il dorico, Liguori Ed., Napoli 1994 - G. ROCCO, Guida alla lettura degli ordini architettonici antichi. II. Lo ionico, Liguori Ed., Napoli 2004 - J. B. WARD PERKINS, Architettura romana, Electa, Milano 1997 - H. THUMMLER, “voce Carolingio”, in “Enciclopedia Universale dell’Arte”. - R. BONELLI – C. BOZZONI – V. FRANCHETTI PARDO, Storia dell’architettura medievale, Laterza Ed., Bari 1997 - R. BONELLI, “voce Romanico”, in «Dizionario Enciclopedico di Architettura e Urbanistica» - H. E. KUBACK, Architettura romanica, Electa, Milano 1997 - L. GRODECKI, Architettura gotica, Electa, Milano 1997 - E. FORSSMAN, Dorico, ionico, corinzio nell’architettura del Rinascimento, Ed. Laterza, Bari 1989 - L. H. HEYDENREICH, Il primo Rinascimento: arte italiana 1400-1460, BUR- Rizzoli, Milano 1979, (ristampa 2003) - R. WITTKOWER, Principi architettonici nell’età dell’Umanesimo, Einaudi Ed., Torino 1996 - SA. BENEDETTI - G. ZANDER, L’Architettura, nella collana L’Arte in Roma nel secolo XVI, t. I, Cappelli Ed., Bologna 1990 - A. BRUSCHI, Bramante, Ed. Laterza, Roma-Bari 1998 - J. ACKERMAN, L’Architettura di Michelangelo, Einaudi Ed., Torino 1996 - J. ACKERMAN, Palladio, Einaudi Ed., Torino 1972 - SA. BENEDETTI, Fuori dal Classicismo. Sintetismo, Tipologia, Ragione nell’architettura del Cinquecento, Multigrafica Ed., Roma 1984 - SA. BENEDETTI, Letture di Architettura – Saggi sul Cinquecento romano, Multigrafica Ed., Roma 1987 - A. BLUNT, Artistic theory in Italy, 1450-1600, London 1935 [ed. it., Le teorie artistiche in Italia: dal Rinascimento al Manierismo, Torino 1966]. - L. PATETTA, Storia dell’architettura. Antologia critica, Etas Libri, Milano 1975

The course is divided into lectures, exercises and laboratory (essential for obtaining the certificate that allows access to the examination), in which there will be the production of graphic works, constituting a moment of constant verification of the acquisition of the above-mentioned skills, with continuous suggestions and corrections. The works, which are rigorously freehand, will focus on works already included in the syllabus in order to facilitate the student's learning load; they will also be periodically assessed in order to determine the student's overall learning. For their part, the students will be able to deepen their knowledge not only through lectures with the teacher, but also through visits to monuments that are more easily accessible, which will be an opportunity for specific and personal observations through sketches and graphic notes and reflections.