Landscape Architecture

(Detailed weekly structure - subject to minor adjustments depending on the progress of the course) - Course introduction. Objectives, methods, and structure. Basic geometric elements (point, line, plane, shapes). Freehand drawing and sketchbook. - Analytical and design drawing: proportions, scale, and control of form. Introduction to freehand drawing techniques. - Perspective drawing methods: central and angular (accidental) perspective. - Axonometric drawing methods: rules and applications in landscape representation. - Double orthographic projections: plan, elevation, and section. - Quoted projections for contour lines (isoheights). - Analog techniques: watercolor and mixed media. Fundamentals of color theory. - Introduction to 2D digital drawing (e.g., AutoCAD). File setup, layers, and lineweights. - 3D modeling for landscape representation (e.g., Rhinoceros). Modeling strategies and scales. - Image editing and post-production: using Photoshop to enhance and compose drawings. - Hybrid representations: combining analog and digital techniques. Visual storytelling. - Mid-term review: presentation of work-in-progress. Group discussion and feedback. - Multiscale project representation: territorial, intermediate, and detailed scales. Layout and composition. - Final project development: studio sessions and individual reviews. - Final project presentation: exhibition boards at multiple scales. Collective review. - Final evaluation and oral exam on theoretical content, sketchbook submissions, and final boards.

Students enrolling in this course are expected to have: - Basic knowledge of drawing and visual representation, including manual drawing techniques (e.g., freehand sketching, perspective drawing, basic composition). - Foundational skills in digital tools commonly used in design and representation (such as Adobe Photoshop, Illustrator, or basic CAD/3D modeling software). - Familiarity with landscape and architectural terminology, as well as an introductory understanding of landscape architecture principles. - Visual and spatial awareness, along with the ability to observe and describe complex environments.

• Francesco Careri, Walkscapes, Torino: Einaudi, 2006 • Tim Ingold, Being Alive: Essays on Movement, Knowledge and Descritpion, London: Routledge, 2011 • Nelson Goodman, Langauges of Art: An Approach to a Theory of Symbols, Hackett, 1976 • Marc Treib, Representing Landscape, London: Routledge, 2007 • Charles Moore, Mitchell William J., Turnbull William jr. La poetica dei Giardini, Milano: Franco Muzio, 1999 • Luigi Cocchiarella, Paesaggio: sguardo, forma, immagine, in Andrea Giordano (ed.), Paesaggio con figure, Padova: Cortina, 2001 • Hans Loidl, Stefan Bernard, Opening Spaces. Design as Landscape Architecture, Basel: Birkhäuser, 2014 • Franco Zagari, Questo è paesaggio. 48 definizioni, Roma: Mancosu Editore, 2006 • Hans Dieter Schaal, Landscape Architecture, London: Academy editions, 1994 • Grant W. Reid, Landscape Graphics, New York: Whitney Library of Design, 1987 – https://uffpaisagismo.files.wordpress.com/2019/10/reid-grant-w-landscape-graphics-nova-york-1987.pdf • Ian L. McHarg, Design with Nature, New York: Doubleday, 1969 – https://archive.org/details/designwithnature00mcha/page/n3/mode/2up • Edward Hutchison, Drawing for Landscape Architecture, London: Thames & Hudson, 2019 • Stuart Wrede, William Howard Adams, Denatured visions : landscape and culture in the twentieth century. New York : Museum of Modern Art ; Distributed by Harry N. Abrams, 1991 (vedi Frampton) • Franco Purini, Questioni di paesaggio, 2007, http://www.francopurinididarch.it/testi/Questioni%20di%20paesaggio.pdf • Diego Maestri, Arborario grafico, Roma: Aracne, 2009

Regular attendance is required and strongly recommended and constitutes an essential part of the learning process. The course is structured around hands-on activities, carried out both in the classroom and during on-site fieldwork, with individual and group exercises focused on landscape representation. A weekly assignment is required, directly linked to the content of each session. Active participation in lessons, feedback sessions, and field activities is fundamental for the development of the final project and for ongoing evaluation. Extended or unjustified absences may compromise the ability to successfully complete the course. Rules on attendance, submissions, and absences: In case of absence, students are responsible for catching up on missed content and submitting the weekly assignment by the agreed-upon deadline. Late submissions will only be accepted in the case of documented valid reasons (e.g., certified illness, official academic commitments). Excessive absences or missed assignments may negatively affect the ongoing assessment and may result in exclusion from the final presentation.

The final grade will be based on three main components: 1) Oral examination – assessment of the theoretical knowledge acquired throughout the course (topics covered in lectures, readings, and discussions). 2) Final project evaluation – quality, consistency, and completeness of the graphic boards and related documentation; clarity and effectiveness of visual communication. 3) Ongoing assessment – active participation, punctuality and quality of weekly exercises, progressive development of work, and responsiveness to feedback. The final grade will reflect a balanced consideration of theoretical understanding, technical skills, and design abilities.

• Francesco Careri, Walkscapes, Torino: Einaudi, 2006 • Tim Ingold, Being Alive: Essays on Movement, Knowledge and Descritpion, London: Routledge, 2011 • Nelson Goodman, Langauges of Art: An Approach to a Theory of Symbols, Hackett, 1976 • Marc Treib, Representing Landscape, London: Routledge, 2007 • Charles Moore, Mitchell William J., Turnbull William jr. La poetica dei Giardini, Milano: Franco Muzio, 1999 • Luigi Cocchiarella, Paesaggio: sguardo, forma, immagine, in Andrea Giordano (ed.), Paesaggio con figure, Padova: Cortina, 2001 • Hans Loidl, Stefan Bernard, Opening Spaces. Design as Landscape Architecture, Basel: Birkhäuser, 2014 • Franco Zagari, Questo è paesaggio. 48 definizioni, Roma: Mancosu Editore, 2006 • Hans Dieter Schaal, Landscape Architecture, London: Academy editions, 1994 • Grant W. Reid, Landscape Graphics, New York: Whitney Library of Design, 1987 – https://uffpaisagismo.files.wordpress.com/2019/10/reid-grant-w-landscape-graphics-nova-york-1987.pdf • Ian L. McHarg, Design with Nature, New York: Doubleday, 1969 – https://archive.org/details/designwithnature00mcha/page/n3/mode/2up • Edward Hutchison, Drawing for Landscape Architecture, London: Thames & Hudson, 2019 • Stuart Wrede, William Howard Adams, Denatured visions : landscape and culture in the twentieth century. New York : Museum of Modern Art ; Distributed by Harry N. Abrams, 1991 (vedi Frampton) • Franco Purini, Questioni di paesaggio, 2007, http://www.francopurinididarch.it/testi/Questioni%20di%20paesaggio.pdf • Diego Maestri, Arborario grafico, Roma: Aracne, 2009

It is a course that includes both a theoretical and a practical component, with weekly assessments. The final evaluation is based on the sum of: - weekly assignments, using both analog and digital techniques (approximately one for each topic covered); - an oral exam on the theoretical topics discussed; - A3-format boards related to the final project (which is developed through in-class exercises during the course).