Project Management in Building Construction

The detached single-family home: the myth of the villa The final project required by the workshop is a detached single-family home for a household of 4/5 people with an adjoining study and garden. As in previous years, the location is in Rome, Ostia Lido – X MUNICIPIO. The choice to locate the project in Rome not only gives students the opportunity to visit and inspect the immediate area, but also enriches the experience of working in a place, the capital, which offers architectural and historical stratification and stimulates dialogue on composition and the relationship between innovation and tradition. The required dimensions are a total area of 200 square metres for the house and studio. The studio, which can be designed for an artist/professional of the student's choice: architect, photographer, writer, painter, musician, actor, influencer, etc., must be included in the 200 square metres of total surface area. This studio, again at the student's discretion, can be incorporated into the building or considered as a separate element in the garden and in any case connected to the main building by paths. The villa also has a garage for motorcycles, bicycles and cars. The square metres of the garage are excluded from the 200 square metres of the house, and a garage belonging to the building must be provided for at least two cars, or an outdoor parking area may be provided. The garden covers a total area of 1,000 square metres and must be designed in detail. The course instructors are available to provide guidance on tree species and the choice of plants and greenery. The number of floors in the villa is up to the student. Villa: 200 square metres Garden: 1000 square metres max Technical notes (minimum dimensions required by regulations) Double bedroom: min. 14 square metres Single bedroom: min. 9 m² Kitchen: min. 15 m³ Height of living spaces: min. height 3.00 m (floor level above attic); Height of hallways, bathrooms and garage: min. height 2.40/2.70 m Procedure and materials required for the exam: A1 horizontal format. The title block must be placed at the bottom of the board. - General overview board showing the area of the project, also documented with photographs; - Board showing the genesis of the project, design idea documented with sketches and references to case studies; - Planivolumetric (plan with shadows) of the house and garden on a scale of 1:100; - Plans, sections and elevations of the house on a scale of 1:100; - Axonometric projections, perspectives and exploded views on an appropriate scale; - Any details on a scale of 1:50 or 1:20; - Scale model on a scale of 1:100.

For the building design course, certain requirements must be met: knowledge of the Italian language; aptitude for drawing by hand and technical drawing; an interest in the history and critique of architecture; good aptitude for theoretical analysis; interest in construction sites, architectural structures and building materials; curiosity for the humanities and arts; the use of photography and video is also recommended for outdoor filming and site inspections.

D. Scatena, Abitare poeticamente la terra. Gangemi, Roma 2009 P. Portoghesi, D. Scatena, M. Ercadi (a cura di), Geoarchitettura, Verso una architettura della responsabilità, Skira, 2005 P. Portoghesi, Natura e Architettura, Skira, 2002 R. Solnit, Storia del camminare, Bruno Mondadori, Milano, 2002 P. Portoghesi, La Piazza come “luogo degli sguardi”, Gangemi Editore, Roma, 1990 C. Norberg-Schulz, Genius loci. Paesaggio ambiente architettura, Electa Editrice, Milano, 1979 C. Norberg-Schulz, Esistenza, spazio e architettura, Officina Edizioni, Roma, 1975

Attendance is required in order to learn design methods and for classroom work; After the 45-minute lecture, the students are divided into two groups and must draw in the classroom; Lessons are held on the following days: Monday 2.30pm-7.30pm, classroom F3 Thursday 2pm-5pm, classroom G11

Each student must bring to the examination: a written essay on a topic or text covered in class; detailed drawings of the exercises done in class during the course; the detailed drawings of the villa he designed.

BIBLIOGRAFIA: Tim Benton, Les villas parisiennes de Le Corbusier 1920 - 1930, Edition de la Villette Yukio Futagawa, Bruce Brooks Pfeiffer, Frank Lloyd Wright Selected Houses, A.D.A. EDITA Robert McCarter, Fallingwater Frank Lloyd Wright, Phaidon: Mies van der Rohe : Farnsworth House, Plano, Illinois, 1945-50 / Text by Dirk Lohan, Global Architecture Detail 1,Tokyo, ADA Edita, 1976 Exhibition “Philip Johnson”: Processes The Glass House, 1949 And The - At & T Corporate Head Quarters” New York, 1978. September 12 To October 31, 1978 / 1949 And The - At & T Corporate Head Quarters” New York, 1978, September 12 To October Exhibition “Philip Johnson”: Processes The Glass House, IAUS, 1978 Aldo Rossi, Villa sul Lago Maggiore Progetto di villa con interno, il Cardo *Tadao Ando : Azuma House, Sumiyoshi-ku, Osaka, Japan, 1975-76: Koshino House, Ashiya, Hyogo, Japan, 1979-81/1983-84 : Kidosaki House, Setagaya-ku, Tokyo, Japan, 1982-86 / edited and photographed by Yukio Futagawa ; text by Vittorio Magnago Lampugnani,Tokyo, Global Architecture Detail 71, A.D.A. Edita, 1994

The classroom course is structured as follows: the first hour is devoted to a design topic and the lesson is lecture-based. Fundamental topics for the first year of architecture include virtual and real space, freehand and computer-aided drawing, the use of architectural sketches and design tools. Subsequent lessons explain the typology and construction of contemporary semi-detached houses by Italian and international architects. Students are invited to choose a representative house on which to carry out a deconstruction and analysis exercise for their first assignment. The houses are chosen by the lecturer according to criteria that reflect the compositional principles explained in class. Students may also choose a case study outside the teacher's list, justifying their proposal. The lesson entitled “Grids and layouts, between memory and design” explains the concept of the grid as an urban matrix, since recent decades have seen a shift from the concept of “type” as a “finished form” to that of “diagram” as a “system of relationships”. The use of the grid in the design process generates not a finished and complete form but rather the relationships that occur between things, such as between the different parts of a site. In this way, the grid or chessboard becomes an ideal matrix of possible new configurations of places. The final form is not necessary but represents one of many possible configurations. The lecture entitled ‘On building typology. Between permanence and hybridisation’ presents the typology of public and private residences, single-family homes and apartment blocks. The use of typology is necessary whenever building experiences need to be communicated in generalised terms. We can classify sectors as follows: building or urban planning regulations are mechanisms for reducing typology to numerical indices; the identification of standards is a reduction to planning intentions. In recent times, typology has often been reduced to the invention of distribution schemes derived only marginally from the process of type formation, overlaid with a compositional intervention deriving from deliberately atypical languages. An intermediate delivery of ex-tempore before the development of the personal project and on the poster/manifesto and through the exhibition ‘Fuori dall'Aula’ (Outside the Classroom). An exhibition of posters created by students: ‘Laboratorio-territorio’ is an interdisciplinary experience: building design and urban analysis are a method for communicating the complementarity of individual disciplines. The natural consequence of this educational opportunity was the choice of a common planning and design location, identified in an urban void on the Ostia beach, which is also interesting from a landscape point of view due to the simultaneous presence of the sea and the Castel Fusano reserve.

The Studio addresses design through five foundational elements—wall, column, opening, roof, stair—developed across three progressive tasks: (1) Redrawing & critical analysis, (2) Nine-Square Problem (spatial/plastic experimentation), (3) Invention Board (individual recombinatory transformation). Lectures and atelier-based work are combined with physical/digital modelling and critical use of AI.

Basic drawing and geometry; basic digital literacy (file handling, layout). Helpful but not mandatory: elementary CAD/modelling skills and physical model-making. No formal prerequisites.

Adopted materials (shared via Drive): slides, work sheets, excerpts and articles per element; weekly pointers in the briefs.

Attendance is not mandatory; interim submissions and collective reviews are optional. For students with documented constraints or incoming students, agreed alternative arrangements can be made.

Task 1 – Redrawing; Task 2 – Nine-Square; Task 3 – Invention Board. Final exam: public presentation and discussion of all three tasks; continuous engagement, review participation and argumentation also contribute. Tasks 1-2 may be team-based (up to 3); Task 3 is individual. Equivalent arrangements for incoming students (IT/EN)

Essential references: - R. Koolhaas (ed.), Elements of Architecture (Venice Biennale, 2014). Plus curated excerpts on Le Corbusier, Kahn, Rietveld, Hejduk, Ban, Mies, Aalto, Niemeyer, Meier, Souto de Moura, Holl, Pezo von Ellrichshausen (as indicated in class).

Studio-based teaching: lectures, collective reviews and group seminars; tasks combine drawing, physical modelling, digital tools and guided AI use as exploratory aid. Individual work and teams (up to 3). On-site delivery; materials and follow-ups on the course platform.