INGLESE

The course is based on the idea that design practice is an instrument of interrogation and interpretation of the place (city, landscape), and that the architectural composition is at the same time, on the one hand, the technique and the art of the project and on the other, the establishment of a system of relationships. The composition organizes - as in a semantic - elements and figures belonging to the sphere of the history of architecture (cultural apparatus, tradition) and specific elements of the place (modification) in a critical process that we can say belonging to the sphere of art. Architecture as "critical modification" and composition as a "collection call" of things. We paraphrase the concept of "gathering" in Heidegger for the Project. The compositional process - or 'art' of the composition - constructs an aggregation of parts in the system and aims to demonstrate how it is possible, and at the same time fundamental, to construct a dialogue between these parts and the context in which it operates, as in a rhetorical process of metonymy and metaphor. To express the nature of this relationship we refer to the definition of Metalogo by Gregory Bateson, which seems to clarify the 'pivotal' aspect of an idea of 'organic' architecture: a speech in which the intervention of each individual participant reflects the structure of the speech itself as a whole. The parts of the project benefit from a unity of form and intent with the system that they themselves construct and with the system whose needs they interpret.

H. Hertzberger, Architecture Lessons, Laterza

Le Corbusier, Opera Complete, Birkhauser Volumes to be consulted in the Library

Corrado Di Domenico, The Imaginary point of view, Il Melangolo, Genova 2012

Corrado Di Domenico, World, LetteraVentidue, Siracusa 2017

Norberg-Schulz Christian, Louis I. Kahn. Idea and image, Officina 1980

Corrado Di Domenico, hERMETIC aRCHITECTURE, LetteraVentidue, Siracusa 2023

Articulation and functional complexity
Spatial articulation
Composite system and functional program
Formal summary
Complete drafting of a public building project
Representation with various techniques

Technical drawing by hand and cad
use of the Architect's Handbook and the Neufert

Theoretical lectures, plastic elaborations of volumes and architectural spaces, collective corrections of the tests and individual corrections of the year project

Compositional beauty, complexity and functional clarity, formal synthesis and completeness of the works

Interview and complete draft of the project followed on time for each individual student

The course is based on the idea that design practice is an instrument of interrogation and interpretation of the place (city, landscape), and that the architectural composition is at the same time, on the one hand, the technique and the art of the project and on the other, the establishment of a system of relationships. The composition organizes - as in a semantic - elements and figures belonging to the sphere of the history of architecture (cultural apparatus, tradition) and specific elements of the place (modification) in a critical process that we can say belonging to the sphere of art. Architecture as "critical modification" and composition as a "collection call" of things. We paraphrase the concept of "gathering" in Heidegger for the Project. The compositional process - or 'art' of the composition - constructs an aggregation of parts in the system and aims to demonstrate how it is possible, and at the same time fundamental, to construct a dialogue between these parts and the context in which it operates, as in a rhetorical process of metonymy and metaphor. To express the nature of this relationship we refer to the definition of Metalogo by Gregory Bateson, which seems to clarify the 'pivotal' aspect of an idea of 'organic' architecture: a speech in which the intervention of each individual participant reflects the structure of the speech itself as a whole. The parts of the project benefit from a unity of form and intent with the system that they themselves construct and with the system whose needs they interpret. The adherence of the place, therefore 'transcribed', with its specificities, as interpreted in the possible extensions of their own morphologies, represents a 'new paper', or 'abstract diagram', which becomes the same model of the place, we would also say, a new kind of space. A process of deconstruction of the text (place and project), aimed at operating a 'speaking synthesis'. Therefore, we intend to set up a project theory and a compositional practice together. The first becomes a 'topology' that operates a bi-univocal relation between containing and content and the second a 'generation of the form' that may already be a container of meanings. It is about entering a mental and cultural context to implement an art practice. Study of the building's all-round form as a psychological response to technical and functional problems -you think of a psychology within the form- and study of the plant as a compositional and figural model. As for Kahn, the form is not only 'volume', but it is the difference and the relationship between the 'things' that it brings together, is the principle of the discernment of space. Therefore the form as eidos and not morphos. In the course of the theoretical lessons and the development of the theme of the year, we intend to develop a series of questions, in light of these considerations, which highlight the intrinsic needs of the architectural project. Set a circular continuity between function, structure and form (technique) in the creative unity of the design process.

English

The course is based on the idea that design practice is an instrument of interrogation and interpretation of the place (city, landscape), and that the architectural composition is at the same time, on the one hand, the technique and the art of the project and on the other, the establishment of a system of relationships. The composition organizes - as in a semantic - elements and figures belonging to the sphere of the history of architecture (cultural apparatus, tradition) and specific elements of the place (modification) in a critical process that we can say belonging to the sphere of art. Architecture as "critical modification" and composition as a "collection call" of things. We paraphrase the concept of "gathering" in Heidegger for the Project. The compositional process - or 'art' of the composition - constructs an aggregation of parts in the system and aims to demonstrate how it is possible, and at the same time fundamental, to construct a dialogue between these parts and the context in which it operates, as in a rhetorical process of metonymy and metaphor. To express the nature of this relationship we refer to the definition of Metalogo by Gregory Bateson, which seems to clarify the 'pivotal' aspect of an idea of 'organic' architecture: a speech in which the intervention of each individual participant reflects the structure of the speech itself as a whole. The parts of the project benefit from a unity of form and intent with the system that they themselves construct and with the system whose needs they interpret.

H. Hertzberger, Architecture Lessons, Laterza

Le Corbusier, Opera Complete, Birkhauser Volumes to be consulted in the Library

Corrado Di Domenico, The Imaginary point of view, Il Melangolo, Genova 2012

Corrado Di Domenico, World, LetteraVentidue, Siracusa 2017

Norberg-Schulz Christian, Louis I. Kahn. Idea and image, Officina 1980

Corrado Di Domenico, hERMETIC aRCHITECTURE, LetteraVentidue, Siracusa 2023

Articulation and functional complexity
Spatial articulation
Composite system and functional program
Formal summary
Complete drafting of a public building project
Representation with various techniques

Technical drawing by hand and cad
use of the Architect's Handbook and the Neufert

Theoretical lectures, plastic elaborations of volumes and architectural spaces, collective corrections of the tests and individual corrections of the year project

Compositional beauty, complexity and functional clarity, formal synthesis and completeness of the works

Interview and complete draft of the project followed on time for each individual student

The course is based on the idea that design practice is an instrument of interrogation and interpretation of the place (city, landscape), and that the architectural composition is at the same time, on the one hand, the technique and the art of the project and on the other, the establishment of a system of relationships. The composition organizes - as in a semantic - elements and figures belonging to the sphere of the history of architecture (cultural apparatus, tradition) and specific elements of the place (modification) in a critical process that we can say belonging to the sphere of art. Architecture as "critical modification" and composition as a "collection call" of things. We paraphrase the concept of "gathering" in Heidegger for the Project. The compositional process - or 'art' of the composition - constructs an aggregation of parts in the system and aims to demonstrate how it is possible, and at the same time fundamental, to construct a dialogue between these parts and the context in which it operates, as in a rhetorical process of metonymy and metaphor. To express the nature of this relationship we refer to the definition of Metalogo by Gregory Bateson, which seems to clarify the 'pivotal' aspect of an idea of 'organic' architecture: a speech in which the intervention of each individual participant reflects the structure of the speech itself as a whole. The parts of the project benefit from a unity of form and intent with the system that they themselves construct and with the system whose needs they interpret. The adherence of the place, therefore 'transcribed', with its specificities, as interpreted in the possible extensions of their own morphologies, represents a 'new paper', or 'abstract diagram', which becomes the same model of the place, we would also say, a new kind of space. A process of deconstruction of the text (place and project), aimed at operating a 'speaking synthesis'. Therefore, we intend to set up a project theory and a compositional practice together. The first becomes a 'topology' that operates a bi-univocal relation between containing and content and the second a 'generation of the form' that may already be a container of meanings. It is about entering a mental and cultural context to implement an art practice. Study of the building's all-round form as a psychological response to technical and functional problems -you think of a psychology within the form- and study of the plant as a compositional and figural model. As for Kahn, the form is not only 'volume', but it is the difference and the relationship between the 'things' that it brings together, is the principle of the discernment of space. Therefore the form as eidos and not morphos. In the course of the theoretical lessons and the development of the theme of the year, we intend to develop a series of questions, in light of these considerations, which highlight the intrinsic needs of the architectural project. Set a circular continuity between function, structure and form (technique) in the creative unity of the design process.