IA/0093 - ARCHITECTURAL REPRESENTATION AND VISUAL COMMUNICATION
Academic Year 2021/2022
Free text for the University
VINCENZO BAGNOLO (Tit.)
- Teaching style
- Lingua Insegnamento
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n line with the educational objectives of the Master's Degree in Architecture, the aim of teaching is to make the student acquire knowledge, skills and competences on the communicative dimension of design and representation of architecture as a visual medium that takes part in the different processes of intermediate circulation of images.
- Knowledge and understanding: to demonstrate knowledge and understanding of the theoretical foundations of graphic design and visual communication, in the specificity of the image within the product system of graphic and visual communication for knowledge, analysis and the project of architecture and the city; theoretical, design and basic practical skills on the use of visual language; knowledge and ability to understand the potential and the different meaning that the techniques and methods of graphic representation can assume within the entire development process of the architectural and urban project.
- Knowledge and Ability to understand applied: to represent the qualities of objects through the use of different graphic methods and techniques, the values of the different functions of the drawing and the different levels of abstraction / definition of the image in the different phases of the design process, contextualized within a process of visual communication.
- Autonomy of judgment: ability to place oneself in a critical position before the phenomenon investigated, understand and communicate the process of knowledge, planning maturation and prefiguration through an informed choice of the methods and techniques of graphic representation, showing awareness and mastery of complexity and importance of graphic languages within complex communication processes of architectural and urban phenomena.
- Communication skills: use the media and the technical standards of the design applied to the different levels of abstraction / definition and to the different phases of the design process; managing the image as a tool for analysis and synthesis through an expressive act inserted into a process of visual communication, identifying and choosing the most appropriate expression channels according to the objectives.
- Learning skills: develop the skills necessary to undertake further studies with a high degree of autonomy.
Knowledge of methods and systems of graphic representation; knowledge of a software for vector graphics, for raster graphics and for the editorial production of texts and images; attitude to graphic image processing, photography /video with digital technology
- Drawing and graphic design: Drawing as a communication code, as a reading tool and as a design tool.
- Graphic representation and visual communication: communicating knowledge, communicating the project, communication.
- Drawing and graphic composition of visual messages: sign, design, project.
- Communicate with the Drawing: color theory; the design of identity; the design of the coordinated image
- Logo design and city branding
In order to verify the learning of basic theoretical contents and representation methodologies, lectures will be followed by laboratory activities or field experience, with individual and group graphic elaborations (annual theme). Lectures (10 hours), Laboratory (25 hours), exercises (5 hours).
To meet specific educational needs related to the epidemiological situation, the possibility of live streaming lessons or recordings of the same available online is provided. Furthermore, the laboratory activities are carried out through forms of remote interaction with the available computer media. Based on the situation related to the Covid-19 pandemic, for laboratory activities and for on-site exercises, shifts and / or online replacement activities may be envisaged.
Verification of learning
The student's assessment includes an oral test in which the student will be called to discuss the drawings coursework with their theoretical insights. The student is also called to the presentation and discussion of a report and a poster showing a selection of the works related to the theme of the year, showing to grasp the fundamental aspects of his work, demonstrating the knowledge of the tools, of the theoretical foundations and linguistic and expressive registers necessary for the development of the visual communication project.
The final mark is defined by means of a weighted combination of the different marks in each specific topic. In the examination assessment, the determination of the final grade will consider the following elements:
1. the logic followed by the student in the resolution of the question;
2. the correctness of the identified procedure adopted for the solution of the question;
3. the adequacy of the proposed solution in relation to the skills that the student is assumed to have acquired at the end of the course;
4. the use of a suitable language;
5. the level of the drawings provided in the program and made during the course;
6. the quality of the summary board and the final report
Delivery and presentation and all the graphic work produced in the classroom and in the exercises is one of the requirements for access to the final examination. To pass the exam, then return a vote of not less than 18/30, the student must demonstrate that he has acquired sufficient knowledge of the topics covered during the course and be able to develop a project of visual communication. To achieve a score of 30/30 cum laude, the student must show instead that he has acquired an excellent knowledge of all the topics covered during the course and a high proficiency in the practice of visual representation and conceptual communication and in the development of a visual communication project in the field of spatial design and architecture.
Barbieri, D. 2011. Guardare e leggere, la comunicazione visiva dalla pittura alla tipografia. Roma: Carocci Editore.
Falcinelli, R. 2011. Guardare, pensare progettare, Neuroscienze per il design. Viterbo: Stampa alternativa graffiti.
Rhyne, T.M. 2017.Applying color theory to digital media and visualization. CRC Press
Massimo Vignelli, Vignelli Canon, Lars Muller Publishers, 2010.
In-depth bibliography (according to annual theme)
Anceschi, G.1992. Loggetto della raffigurazione, Milano.
Appleyard Donald, Lynch Kevin & Myer John Randolph, 1964.The View from the Road. Cambridge, MA: MIT Press for the Joint Center for Urban Studies of M.I.T. and Harvard University.
Basilico G., Morpurgo G.,Zannier I. 1980. Fotografia e immagine dellarchitettura. Bologna: Grafis industrie grafiche.
Bertin Jacques, 1981. La grafica e il trattamento grafico dellinformazione. Roma: ERI.
Cohn, N. 2013. The Visual Language of Comics: Introduction to the Structure and Cognition of Sequential Images, London: Bloomsbury.
Eisner Will, 1985. Comics & sequential art. Tamarac, Florida: Poorhouse Press.
Eisner Will, 2008. Graphic Storytelling and Visual Narrative: Principles and Practices from the Legendary Cartoonist. New York: Will Eisner Studios, Inc.
Groensteen Thierry, 2007. The System of Comics. Jackson: University Press of Mississippi.
Groensteen Thierry, 2015. Richard McGuire: Ici. [online] Editionsdelan2.com. Available at: https://www.editionsdelan2.com/groensteen/spip.php?article60 [Accessed 12 Jan. 2017].
Ingels, B. (2011). Yes is more, un archifumetto sull'evoluzione dell'architettura. Köln: Taschen.
Gombrich, E., Hochberch, J., Black, M. (2002). Arte, percezione e realtà, Come pensiamo le immagini. 10th ed. Torino: Einaudi Editore
Lynch Kevin, 2006 ,L'immagine della città. Venezia: Marsilio.
Kress G., van Leeuven T. Reading images. The grammar of visual design. London: Routledge.
Lus Arana K.L. 2013. Un (mica tanto) breve resoconto delle interazioni tra architettura e narrativa grafica. [online] Available at: https://whereiscomics.wordpress.com/2014/06/16/mas-contextnarrative-_fumetti-e-architettura-fumetti-in-architettura-un-mica-tanto-breve-resoconto-delle-interazioni-tra-architettura-e-narrativa-grafica/, [Accessed, 15 March, 2017]
Kandel E.R. 2016. Arte e neuroscienze. Le due culture a confronto. Azzate (VA): Raffaello Cortina editore
McCloud Scott, 1993.Understanding Comics: The Invisible Art. Northampton, MA: Kitchen Sink Press.
McGuire Richard, 2014. Here. New York: Pantheon Books.
Pantaleo, R., Gerardi, M., Molinari, L. 2013. Architetture resistenti. Padova: BeccoGiallo
Prina, V. 2009. Cinema Architettura Composizione. Segrate (MI): Maggioli.
Ravesi, G. 2011. La città elle immagini. Cinema, video, architettura e arti visive.Rubbettino editore.
Rea P., Irving D. K. 2015. Producing and Directing the Short Film and Video. New York: Taylor & Francis.
Seward Barry A.M. 1997. Visual intelligence. Perception, image, and manipulation in visual communication. Albany, NY: State University of New York Press
Trione, V. 2014. Il cinema degli architetti. Arti grafiche Bianca & Volta.
Van der Hoorn, M. 2010. Bricks & Ballons: architecture in comic strip form Rotterdam: 010 Publishers.
Ware, C. 2012. Building Stories. New York: Pantheon Books
Zevi B. 1948. Saper vedere l'architettura- Saggio sull'interpretazione spaziale dell'Architettura, Torino: Einaudi.
Basilico, G., 2012. Leggere le fotografie. In dodici lezioni. Milano: Abitare e Rizzoli.
Freeman, M., 2007. The Photographer's Eye: Composition and Design for Better Digital Photos. Focal Press
Hausberg, A., Simons A., 2012. Construction and Design Manual. Architectural Photography. Berlin: DOM publishers
Cohn, N. 2016. The visual narrative reader. India: Edited by Neil Cohn.
Handouts and bibliography of in-depth information are from time to time published among the materials of the course web page.