Architecture

Theory of Contemporary Architectural Research Prof. Alessandro Lanzetta, Prof. Gianpaola Spirito PROGRAMME The course aims to introduce students to the ideas, themes, tools and methods on which, starting from the second half of the 20th century, the architectural debate has focused and which have supported projects, architectures and urban and territorial transformations. At the end of the last century, the main architects who have emerged on the international scene have continued to question themselves on the themes proposed by the Modern Movement, some taking up its principles or placing themselves in continuity with the language, others in discontinuity by searching for forms and figures of architecture outside the disciplinary sphere; others still search for answers to current problems in the origins, history and local traditions and techniques. This generation of 'Postmodern' architects (Eisenman, Kooolhaas, Holl, Tschumi, Moneo, Siza, etc.) combine design practice with theoretical research on the city and/or architecture, or explain their method and the design themes they work on in short texts. Instead, in the new millennium a greater pragmatism leads architectural practice to prevail over theory, and that form of globalisation that had seen the presence of architecture signed by Archistars in different parts of the world has partly died out in favour of a multiplication of architecture studios, more linked to contexts. The course therefore intends to raise awareness of these two generations of architects, the ideas and themes they developed and the spaces generated on the basis of these. It is intended to summarise them, using certain key words, also polyrhematic, which may have plural meanings and different declinations. Each word is preceded by the word Architecture, because this is the field of our profession and the subject of the course. The terms that follow and that relate to architecture, serve to decline different areas of research, production and interpretation of space, and allow us to reconstruct the histories and geographies of contemporary architectural culture, investigating the theories and works of the authors. The selected keywords are: Architecture and Memory, Archetype, Tradition Memory is a word that in architecture is often linked to history, the past, tradition. It includes the different modalities of design that take as a starting point what has already been done to solve similar problems and that, from time to time, is reinterpreted and contextualised to current ones. Memory is generally that heritage of images and memories of spaces and places that every architect keeps in his or her mind and that resurfaces during the design process to suggest solutions. Memory can be both subjective-autobiographical and collective. The latter relates to the traditions and culture of a place, construction techniques and materialities that define shared spaces. All architects who do not believe that the task of architecture is to innovate, to search for new forms that have never been realised before, but who instead re-propose and update those that have always characterised the tradition and the con-text that their design modifies, are placed within this search. Other architects in different epochs have, on the other hand, researched forms and space by returning to the origins of architecture, to its archetypes. Architecture and Urban, Natural or Hybrid Landscape The urban and natural landscape is an architectural theme, at every scale. In contemporary times, much of the transformation of space is under the pervasive sign of 'landscape', a discipline that merges and blends with that of urban design, thanks in part to recent environmental and health emergencies that have brought the value of 'nature in the city' back to the forefront. Today, however, the whole world is a metropolis and every territory is urbanised. We are thus witnessing a great difficulty in distinguishing the concepts of city and countryside, of anthropic space and natural space, which no longer identify antinomies. Architectural, urban and landscape design is therefore increasingly site-specific: it works with the living materials of the land, of vegetation, of people's lives and with what other epochs have left on the territory, with different temporal dynamics, crossing all scales of design and relating to other disciplines. Architecture and Place, Context, Pre-existence Every architectural project modifies the place in which it is inserted and its surroundings. For this reason, many architects begin the design process by observing and understanding its physical, cultural and climatic characteristics, the pre-existing materials and elements, the signs and traces that have stratified in a place over time and that tell of the ways in which it has been inhabited and transformed. The project can take and reinterpret all these pre-existing materials, both material and immaterial, and add a new layer in continuity with the previous ones. Another theme closely related to that of the place is that of the pre-existences that may be present in a context very dense with history. Architecture, since antiquity, has intervened on pre-existing artefacts or within strongly stratified fabrics, transforming their forms and uses. The theme of Architecture as Modification, to which Vittorio Gregotti dedicated an issue of Casabella in 1984, has a very broad interpretation and an even broader casuistry of practices and examples that reach up to the present day. Architecture and Communication, Representation, Propaganda As Marshall McLuhan teaches us, the media are not just communication tools, but environments that influence our everyday living by impacting visual and sensory space. In modernity, cities, houses, buildings and public spaces have gradually changed also on the basis of a certain publicist narrative, which has contributed to transforming the an-tropical environment into a global village, an interdependent and hyper-connected metropolis-world. Architecture has always been a system of communication and a medium of information, but in modernity it has also been a means of propaganda, a utopian dream, a spectacular place of escapism, a theatre of major events, an advertising medium, an urban icon, a representation of power. Architects, moreover, have not been mere spectators of this phenomenon, but actors, promoters and entrepreneurs in this enormous process of global communication, which has affected all media and all arts in every country: the press, literature, cinema, visual art, photography and music.

In this course there are no preparatory courses, however it is advisable and desirable to have attended and taken the various exams in the history of architecture.

KEY TEXTS A. Capuano, B. Di Donato, A. Lanzetta (cur.), Cinque temi del modernocontemporaneo. Memoria, natura, energia, comunicazione, catastrofe, Quodlibet, Macerata 2020. P. Gregory, Teorie di architettura contemporanea. Percorsi del Postmodernismo, Carocci, Roma 2010. ALTERNATIVELY, TO BE AGREED WITH THE TEACHERS Terranova A., Argenti M. (cur.), Linguaggi dell’architettura contemporanea, «Rassegna di Architettura e urbanistica» n. 127/128/129, 2009 Moneo R., Inquietudine teorica e strategia progettuale nell’opera di otto architetti contemporanei, Mondadori-Electa, 2005. Dictionaries: M. Biraghi, A. Ferlenga, Architetture del Novecento. I, Teorie scuole eventi, Einaudi, Torino 2012. A. Forty, Parole e Edifici. Un vocabolario per l’architettura moderna, Pendragon 2004. L. Semerani (cur.), Dizionario critico illustrato delle voci più utili all’architetto moderno, C.E.L.I., Faenza 1993. Some entries specified in the bibliography of the 'Enciclopedia Italiana' - Treccani online. ESSENTIAL TEXTS OF THE COURSE TOPICS, ONE TO BE CHOSEN TO STUDY FOR THE EXAMINATION ARCHITECTURE and MEMORY, ARCHITECTURE, TRADITION Short compulsory basic texts: M. Sabini, Memoria, in L. Semerani (a cura di), Dizionario critico illustrato delle voci più utili all’architetto moderno, C.E.L.I., Faenza 1993, pp. 110-111. Voce Memoria, in Forty A., Parole e Edifici. Un vocabolario per l’architettura moderna, Pendragon 2004, pp. 213-225; Voce Tipo, in Forty A., Parole e Edifici. Un vocabolario per l’architettura moderna, Pendragon 2004, pp. 327-335; Leach A., Storia, in M. Biraghi, A. Ferlenga, Architetture del Novecento. I, Teorie scuole eventi, Einaudi, Torino 2012, pp. 791-799. Martì Aris C., Tipologia, in M. Biraghi, A. Ferlenga, Architetture del Novecento. I, Teorie scuole eventi, Einaudi, Torino 2012, pp.890-896. Siza A., Ripetere non è mai ripetere, in Immaginare l’evidenza, Laterza 1998; A book of your choice from: Linazasoro J. I., La memoria dell’ordine. Paradossi dell’architettura moderna, LetteraVentidue 2015; Martì Aris C., La centina e l’arco. Pensieri teoria, progetto in architettura, Marinotti, Milano2007. Martì Aris C., Le variazioni dell’identità. Il tipo in architettura, Città Studi, 1993 Monestiroli A., La metopa e il triglifo. Nove lezioni di Architettura, Edizioni Laterza, 2002 Rossi A., Autobiografia scientifica, Pratiche, Parma, 1990 (nuova ed. Il Saggiatore, 2009). Venezia F., Che cos’è l’architettura: lezioni, conferenze, un intervento, Electa, Milano 2022 Venturi R., Complexity and Contradiction, New York, 1966 (trad . it. Complessità e contraddizioni nell'architettura, Ed. Dedalo, Bari, 1980). Zumthor P., Pensare architettura, Mondadori- Electa, Milano 2003. Other books and texts, including alternatives to the above, to be agreed with the lecturers: Pagano G. e Daniel G., Architettura rurale italiana, Hoepli, Milano 1936 Ferlenga A., Città e memoria come strumenti del progetto, Marinotti, Milano 2015; Pallasmaa J., L’immagine incarnata. Immaginazione e immaginario nell’architettura, Safarà Editore, Pordenone 2014 Portoghesi P., Architettura e memoria, Gangemi Editore, Roma 2006; Secchi R., Primitivismo e architettura, Quodlibet, Macerata 2021 Spirito G., Leoni S. (cur.), Recinti, Quodlibet, Macerata 2021 ARCHITECTURE AND URBAN, NATURAL OR HYBRID LANDSCAPE Short compulsory basic texts: Ferlenga A. Città, in M. Biraghi, A. Ferlenga, Architetture del Novecento. I, Teorie scuole eventi, Einaudi, Torino 2012, pp. 155-166. B. Lassus, Paesaggio, in M. Biraghi, A. Ferlenga, Architetture del Novecento. I, Teorie scuole eventi, Einaudi, Torino 2012, pp. 669-676. Corboz A., Il territorio come palinsesto, in “Casabella” n. 516, pp. 22-27, 1985. Gregory P, voce: Paesaggio, Architettura, in «Enciclopedia Italiana» – Treccani on line: https://www.treccani.it/enciclopedia/paesaggio_res-619e732e-9bc6-11e2-9d1b-00271042e8d9_%28Enciclopedia-Italiana%29/ A book of your choice from: Banham R., Los Angeles. L'architettura di quattro ecologie, Torino, Einaudi, 2009. Clément G., Manifesto del terzo paesaggio, Quodlibet, Macerata 2005. Koolhaas R., Delirious New York, Electa, Milano, 2000. Rossi A., L’architettura della città, Città Studi Edizioni, Milano, 1966. Other books and texts, including alternatives to the above, to be agreed with the lecturers: Banham R., Deserti Americani, Einaudi, Torino 2006. Gregory P., La dimensione paesaggistica dell'architettura. L'architettura come metafora del paesaggio, Laterza, Bari, 1998 Koolhaas R., Junkspace. Per un ripensamento radicale dello spazio urbano, Quodlibet, 2006. Koolhaas R., Testi sulla (non più) città, Quodlibet, Macerata 2021. Rowe C., Koetter F., Collage City, Il Saggiatore, Milano 1981. Rudofsky B., Strade per la gente. Architettura e ambiente urbano, Laterza, Roma-Bari 1981. ARCHITECTURE AND PLACE, CONTEXT, PRE-EXISTENCE Short compulsory basic texts: Rogers E. N., Le preesistenze ambientali e i temi pratici contemporanei, in “Esperienza dell’architettura”, Einuadi 1958, pp.304-310; anche in Biraghi M. e Damiani G., Le parole dell’architettura. Un’antologia di testi crtici: 1945-2000, Einaudi 2009, pp. 22-30; Gregotti V., Modificazione, in Casabella n. 498/9, 1984 Frampton K., Anti tabula rasa: verso un Regionalismo critico, in “Casabella” n. 500, 1984, p.22 Frampton K., Luogo, forma, identità culturale, in “Domus 1986; Voce Contesto, in Forty A., Parole e Edifici. Un vocabolario per l’architettura moderna, Pendragon 2004, pp.132-136; Tamburelli P.P., Contesto, in M. Biraghi, A. Ferlenga, Architetture del Novecento. I, Teorie scuole eventi, Einaudi, Torino 2012, pp. 240-246; Ferlenga A. Panzarella M., Riuso/Riciclo, in M. Biraghi, A. Ferlenga, Architetture del Novecento. I, Teorie scuole eventi, Einaudi, Torino 2012, pp. 738-745; Siza A., Navigando attraverso l’ibrido delle città, in Immaginare l’evidenza, Laterza 1998; Moneo R., Costruire nel costruito, Allemandi, Torino 2007; Holl S., Anchoring, in Anchoring: select Project 1975-1988, Princeton Architectural Press, New York 1989; (in ita. in Tinacci E.(a cura di), Antologia di testi su Sensual space, Kappa, Roma 2005, pp. 18-29) Zumthor P., Atmosfere. Ambienti architettonico le cose che ci circondano, Electa, Milano 2008 A book of your choice from: Norberg-Schulz C., Genius Loci. Paesaggio Ambiente Architettura, Electa, Milano, 1979. Corboz A., Ordine sparso. Saggi sull’arte, il metodo, la città e il territorio, Francoangeli, Milano 1998. ARCHITECTURE AND COMMUNICATION, REPRESENTATION, PROPAGANDA Short compulsory basic texts: D. Fornari, Comunicazione, in M. Biraghi, A. Ferlenga, Architetture del Novecento. I, Teorie scuole eventi, Einaudi, Torino 2012, pp. 218-221. A. Capuano, Architettura e Comunicazione, in : A. Capuano, B. Di Donato, A. Lanzetta (cur.), Cinque temi del modernocontemporaneo. Memoria, natura, energia, comunicazione, catastrofe, Quodlibet, Macerata 2020, pp. 291-301. M. Bradaschia, Comunicare L'architettura, in «Enciclopedia Italiana» – Treccani on line: https://www.treccani.it/enciclopedia/comunicare-l-architettura_%28XXI-Secolo%29/ Saggio A., Nuova soggettività. L'architettura tra comunicazione e informazione, in: http://architettura.it/coffeebreak/20040718/index.htm A book of your choice from: Venturi R., Scott Brown D., Izeneour S., Imparare da Las Vegas, Quodlibet, 2010. Debord, G., La società dello spettacolo, Milano, Baldini Castoldi Dalai, 2001. Lynch K., L’immagine della città, Venezia, Marsilio, 1964. Koolhaas R., Delirious New York, Electa, Milano, 2000. Other books and texts, including alternatives to the above, to be agreed with the lecturers: Eisenman P. Vision Unfolding: architecture in the Age of Electronic Media, «Domus», 734, 1992, anche in: https://mycourses.aalto.fi/pluginfile.php/1285091/mod_resource/content/2/Peter%20Eisenman%2C%20Architecture%20After%20the%20Age%20of%20Printing%2C%201992.pdf ; trad. It: Oltre lo sguardo: l’architettura nell’era dei media elettronici, in: F. M. Mancini (cur.), Peter Eisenman. Antologia di testi su Spacing, Kappa, Roma 2005, pp. 43-59. Fiore Q., Mc Luhan M., Il medium è il messaggio, Feltrinelli, Milano 1968. Mc Luhan M., Powers B., Il villaggio globale: trasformazioni nella vita e nei media, Sugarco, Milano 1992. De Fusco R., Architettura come mass medium: note per una semiologia architettonica, Dedalo libri, Roma, 1967. Koenig G. K., Architettura e Comunicazione, Libreria Editrice Fiorentina, Firenze, 1970. Tschumi B., Architettura e disgiunzione, Pendragon, Bologna 2005. Saggio A, Informazione materia prima dell'architettura, in: http://architettura.it/coffeebreak/20040318/index.htm

COURSE DEVELOPMENT The work is organised in meetings in which the course lecturers and guests will give various thematic lectures, after which the students will measure themselves against the research themes through various exercises (one for each theme), which will then form part of the exam. The exercises will have as their subject one/two modern-contemporary architectures, chosen through the lens of the keyword of the cycle of lessons in progress at that moment. The works will be proposed by the students, in agreement with the teachers. The students, also organised in groups of two, must from time to time produce some teaching materials, using one of the four tools proposed by the course, one to be chosen for each thematic cycle. Each student has to deal with all the analytical approaches proposed, in order to use them all during the course. The tools are: 1. Sight. The use of this tool contemplates the vision and the physical experience of a work of art by inhabiting it, observing it from the outside, being inside it, going around it to perceive it from different points of view. In order to use this tool, each student will have to choose a work of art that he/she has visited or will visit, in Rome or elsewhere, during the course. The work chosen on the basis of the theme must be studied in advance, then visited and photographed. Any manipulation and artistic technique of the image is allowed, obviously motivated to communicate the relationship between the theme and the work. The assignment consists in the presentation in the classroom of a photograph (or a sequence of photographs) that is paradigmatic of the work, in the oral argument of how it gives a critical and interpretative reading in the light of the chosen theme (Memory, Landscape, Technique, Communication). The argumentation shall be written in a short abstract of 300/500 characters, to be uploaded, together with the photographs/photographs, on a classroom one day before the deadline. 2. Diagram. The use of this tool foresees the synthetic-diagrammatic representation of the salient elements of two architectures compared, selected as representative of an aspect-declination of the chosen thematic cycle (Memory, Landscape, Technique, Communication). By diagram, of course, we do not mean only a method of representing the functional aspects of the work but, above all, something interpretative, which reveals the meaning of the work. The assignment consists in the presentation and argumentation of one or more tables in which the two works are compared through diagrams that interpret them according to the chosen theme (Memory, Landscape, Technique, Communication). The argumentation shall be reported in a short abstract of 300/500 characters, to be uploaded, together with the plates, on a classroom one day before the delivery. 3. Model. The use of this tool contemplates the creation and presentation of a synthetic and interpretative model of the relationship between a work of architecture and the chosen theme (Memory, Landscape, Technique, Communication). The three-dimensional models may be made with any material and any technique, but not virtual. The delivery consists of the presentation of the model and the argumentation of the choices made in its production. The argumentation shall be written in a short abstract of 300/500 characters, to be uploaded, together with some photographic images of the model, on a classroom one day before the delivery. 4. Sheet. The use of this tool contemplates the drafting of a critical-analytical file on an architectural work related to the chosen theme (Memory, Landscape, Technique, Communication). The file will consist of 3000-4000 characters of text (including spaces), 10 images (photographs and architectural redesigns) and a bibliography (a guide to compilation is attached to the course materials). The delivery consists in the presentation of the complete sheet in the classroom, to be uploaded on the classroom the day before the delivery. In addition to the lectures on the four themes and the general lessons on the Theory of Architecture, the course aims to increase knowledge of modern contemporary architecture by participating in some of the initiatives of the Faculty of Architecture: the international conference "Rino Levi, architecture as a synthesis of techniques and arts", focusing on an architect of the Brazilian Modern Movement, which will be held on 19 and 20 May at the Aula Magna of Valle Giulia; the cycle of conferences on contemporary Spanish architecture "Essence and Essentiality in Architecture. Methods and Elements of the 21st Century Architectural Project", held by Toni Gironès, Elisa Valero Ramos, Ted'A Arquitects and H Arquitectes on 7 April, 21 April, 28 April and 5 May at the Royal Academy of Spain in Rome. Since it is believed that all the scientific and cultural experiences carried out during the semester can be useful in increasing knowledge of modern-contemporary architecture and in stimulating disciplinary reflection, it is requested that a notebook be compiled of notes and sketches drawn up both during the course lectures and during the other activities carried out during this period: conferences, visits to exhibitions or works, study trips, etc.. The notebook allows the use of another fundamental tool for the architect: the sketchbook, a tool for the conception and communication of the project, but also a necessary tool to preserve in the memory the architecture visited and that shown during the lessons or during a conference, which can become a catalogue of works, places and apparatus, useful for research and design. The notebook will also be subject to evaluation and must therefore be handed in one week before the exam.

Not mandatory

CONDUCT OF THE EXAMINATION FOR ATTENDING STUDENTS. The examination is oral and consists of a first part in which the student must choose a topic covered during the course or, alternatively, one proposed by him/her and approved by the lecturer. Of this topic he/she will have to study: the key words inherent to the theme, found in the dictionaries indicated below; a text of his/her choice from the essential bibliography on the theme; at least two/three architects working on that theme and their architectural works that express it. In the case of a topic proposed by the student, a bibliography will be identified together with the lecturers. This thematic work comparing the chosen works will be described in the examination orally and with the support of A3 tables containing quotations from the texts read, critical considerations and interpretative drawings, and/or models, both produced using the analytical-interpretative tools described above. It is advisable to begin the study of the chosen topic from the entries in the dictionaries described in the bibliography, which in any case are: M. Biraghi, A. Ferlenga, Architetture del Novecento. I, Teorie scuole eventi, Einaudi, Torino 2012. A. Forty, Parole e Edifici. Un vocabolario per l’architettura moderna, Pendragon 2004. L. Semerani (cur.), Dizionario critico illustrato delle voci più utili all’architetto moderno, C.E.L.I., Faenza 1993. Some entries specified in the bibliography of the 'Enciclopedia Italiana' - Treccani online. It is also advisable to study the chosen topic in depth by studying the essays published in: • A. Capuano, B. Di Donato, A. Lanzetta, Cinque temi del modernocontemporaneo. Memoria, natura, energia, comunicazione, catastrofe, Quodlibet, Macerata 2020. • Terranova A., Toppetti F., Teorie, figure, architetti del modernocontemporaneo, Gangemi, Roma 2012. • A book chosen from "essential texts on the course topics". In addition to the topic of choice, the student must demonstrate knowledge of the other topics covered during the course and of the main architects of the second half of the 20th century, their writings and works that were the subject of the lectures and classroom exercises, which will be available on the course drive. For the study of architects, the lectures are to be supplemented with the study of the text: • P. Gregory, Teorie di architettura contemporanea. Percorsi del Postmodernismo, Carocci, Roma 2010. Alternatively, to be agreed with the teachers: • Terranova A., Argenti M. (cur.), Linguaggi dell’architettura contemporanea, «Rassegna di Architettura e urbanistica» n. 127/128/129, 2009 • Moneo R., Inquietudine teorica e strategia progettuale nell’opera di otto architetti contemporanei, Mondadori-Electa, 2005. EXAM PROCEDURE FOR NON-ATTENDING STUDENTS The examination is oral and consists of a part in which the student must choose one of the topics covered during the lectures and exercises of the course (available on the course drive) or one of those in the fundamental text adopted: A. Capuano, B. Di Donato, A. Lan-zetta (eds.), Five themes of the modern-contemporary. Memory, nature, energy, communication, catastrophe, Quodlibet, Ma-cerata 2020. Of the theme, the student will also have to study: the key words indicated in the thematic bibliography, found in the dictionaries cited below; two texts to be chosen from the essential bibliography on the theme; at least two/three architects working on that theme and their works of architecture that express it. This thematic work comparing the chosen works will be described in the examination orally and with the support of A3 tables, containing quotations from the texts read, critical considerations and interpretative drawings, and/or models, both produced using the analytical-interpretative tools described above. Dictionaries: M. Biraghi, A. Ferlenga, Architetture del Novecento. I, Teorie scuole eventi, Einaudi, Torino 2012. A. Forty, Parole e Edifici. Un vocabolario per l’architettura moderna, Pendragon 2004. L. Semerani (cur.), Dizionario critico illustrato delle voci più utili all’architetto moderno, C.E.L.I., Faenza 1993. Some entries specified in the bibliography of the 'Enciclopedia Italiana' - Treccani online. In addition to the topic of choice, the student will have to demonstrate knowledge of the other topics addressed during the course and of the main architects of the second half of the 20th century, their writings and works that were the subject of the lectures and classroom exercises, which will be available on the course drive. This knowledge must be supplemented with the study of the two fundamental texts: 1- A. Capuano, B. Di Donato, A. Lanzetta (a cura di), Cinque temi del modernocontemporaneo. Memoria, natura, energia, comunicazione, catastrofe, Quodlibet, Macerata 2020. 2- P. Gregory, Teorie di architettura contemporanea. Percorsi del Postmodernismo, Carocci, Roma 2010.

General supporting bibliography Other Texts/Manifestos by Architects Chaslin F., Architettura@ della Tabula rasa@. Due conversazioni con Rem Koolhaas, ecc., Electa, Milano 2003. Clément G., Il giardiniere planetario, 22 Publishing, Milano 2011. Clément G., Il giardino in movimento, Quodlibet, Macerata 2011. Clément G., Manifesto del terzo paesaggio, Quodlibet, Macerata 2005. Eisenman P., Contropiede, Skira, Ginevra-Milano 2005. Eisenman P., La fine del classico, Mimesis, Milano 2009. Campo Baeza A., L'idea costruita, 2022. Friedman Y., Architettura di sopravvivenza. Una filosofia della povertà, Torino, Bollati Boringhieri, 2009. Gregotti V., Il territorio dell’architettura, Feltrinelli, Milano 1966. Koolhaas R., Mau b., S,M,L, XL, The Monacelli Press, New York 1995. Koolhaas R., Verso un’architettura estrema, Postmedia, Milano 2002. Rudofsky B., Architettura senza architetti: una breve introduzione all’architettura non blasonata, Editoriale scientifica, Napoli 1977. Smithson A., Smithson P., Struttura urbana, Calderini, Bologna 1971. Other Historical-Critical-Theoretical Texts Banham R., Ambiente e Tecnica dell’architettura moderna, Laterza, Bari, 1995. Banham R., Architettura della prima età della macchina, Milano, Marinotti, 2005 Banham R., Architettura della Seconda Età della Macchina, Electa, Milano 2004. Banham R., L'Atlantide di cemento. Edifici industriali americani e architettura moderna europea 1900 – 1925, Bari, Laterza, 1990. Banham R., Le tentazioni dell'architettura. Megastrutture, Bari, Laterza, 1980. Benevolo L., Albrecht B., I confini del paesaggio umano, Laterza, Bari, 1994. Biraghi M. L’architetto come intellettuale, Einaudi, Torino 2019. Bucci A., São Paulo, argomenti d’architettura. Della dissoluzione degli edifici e di come passare attraverso i muri, Libria, Melfi 2021. Capuano A. (cur.), Streetscape. Strade vitali, reti della mobilità sostenibile, vie verdi, Quodlibet, Macerata 2020. Frampton K., Tettonica e architettura, poetica della forma architettonica nel XIX e XX secolo, Skira 2005. Mosco V. P., Architettura Nuda, Skira 2012. S. Wolfrum, H Stengel et al., Porous City. From Metaphor to Urban Agenda, Birkhäuser, Basel, 2018. The Why Factory, Poro City, nai010 publisher, Rotterdam, 2018. Toppetti F., L.V. Ferretti (cur), La cura delle città. Politiche e progetti, Quodlibet, Macerata 2020. Lanzetta A., Opaco mediterraneo. Modernità informale, Libria, Melfi 2016. Lanzetta A., Roma informale. La città mediterranea del GRA, Manifestolibri, Roma 2018 Texts on Instruments Diagrams, numero monografico di «Lotus» 127, 2006. Di Giacomo A., Modelli di architettura. Scarti del progetto, Pezzi da museo, Nep edizioni, 2018. Lanzetta A., Fotografie, in: A. Capuano, F. Toppetti, Roma e l’Appia. Rovine, utopia e progetto, Macerata, Quodlibet 2017, pp. 198-223.

COURSE PROCEEDINGS Each keyword or set of words corresponds to a series of lectures, delivered both by the course lecturers and by external guests. An introductory lecture for each keyword theme will focus on the main theoretical and critical texts that have addressed that topic. Subsequent lectures, on the other hand, will be devoted to architects addressing the theme in writings and architecture, or, conversely, starting from the theme, which will be declined in the work of different architects. The lectures on the four keywords will be complemented by others on theories and the different ways of teaching them, held by lecturers from various Italian faculties. EXERCISES During the course, a number of exercises are planned for attending students, which will be assessed and will allow part of the oral examination to be eliminated. The exercises will focus on the analysis and interpretative reading of a number of works relating to an architectural theme chosen by the student. These interpretative readings will be developed using certain analytical-interpretive 'tools': 1. The gaze. The use of this tool contemplates the vision and physical experience of a work by inhabiting it, os-serving it from the outside, standing inside it, walking around it in order to perceive it from different points of view and thus, in synthesis, photographing it or redrawing it with a sketch from life. Any manipulation and ar-tistic technique of the image is permissible in the exercise. 2. The diagram. The use of this tool envisages the synthetic-diagrammatic representation of the salient elements of the architectures - even two/three compared - selected, which must be representative of an aspect or declination of the theoretical themes addressed by their authors. By a diagram, of course, we do not exclusively mean a method of representing the functional aspects of the work but, above all, something interpretative, which reveals its meaning. 3. The model. The use of this tool contemplates the realisation and presentation of a synthetic and inter-pretative maquette of the relationship between theory and practice in an architect's work. Three-dimensional models can be made from any material and with any technique. These tools will be the subject of a lecture and will be used in the exercises during the course. The first exercise is: 'Experience a work of architecture'. To this end, the course will visit the Mausoleum of the Fosse Ar-deatine (1944-1949) on Friday 10 March. Perugini's building, despite being an early post-World War II work, showcases a plurality of themes, including those dealt with by the course, and is characterised by multiple spatialities that develop along the tour route. The first exercise will allow you to use your gaze to describe the characters, materialities, dimensions and atmospheres that define this work. These materials - the sketches made on site and the photographs, also manipulated to highlight an aspect of the work - correlated with key words and short captions to describe the themes and sensations conveyed, will be the subject of the first delivery, to be discussed in class on Friday 17 March. The second exercise, 'On an architect: his writings, criticism and projects', will be devoted to getting to know a contemporary architect. Students, also in pairs, will have to choose an architect from a list (Annex 1) or propose one, which must, however, be accepted by the lecturer. Each architect's writings and some critical texts on the architect are to be studied. From these, and from the study of three exemplary works, the key themes/words of the work of the chosen author and how they are interpreted in his work are to be deduced. For the critical reading of the works, it is advisable to use the tools indicated above: Glance (photographic survey, sketches, image manipulations), diagrams and models. This study exercise on an architect and his works, together with and a reference bibliography, should be presented in the classroom by means of a video presentation (ppt). The exercises will take place from Friday 24 February until the end of the course, according to the schedule established by the lecturer. The presentations made during the exercises will then form part of the course proceedings and will be examined. As mentioned, the course aims to increase knowledge of contemporary architecture by inviting students both to take part in all the cultural initiatives of the Faculty of Architecture (exhibitions, conferences, seminars) and by sharing the experiences of mo-strations, conferences, seminars and study trips undertaken by students during the current semester, which may then become the basis for one of the topics developed during the exam. For this reason, it is required to compile a notebook of notes, sketches and collection of materials, produced both during the lectures and exercises of the course and during the other activities carried out in the same period. The notebook, in fact, contains some impressions provided by the "instrument" of the gaze, those returned by the sketch-drawings, which are moments of conception and communication of the project, but also a mnemonic catalogue of the architectures visited or encountered in the lessons, exhibitions or lectures. A catalogue of works, places and apparatuses that are in any case useful for research and design. The notebook will also be subject to evaluation and must therefore be handed in, either physically or digitally, one week before the examination.