The first degree academic diploma in Interior Architecture and Design aims at creating professionals that can understand space and carry out project solutions in all fields: enclosed spaces, private dwellings, commercial establishments, work places, and exhibition areas taking also an interest in objects, together with the knowledge of technical , humanistic and artistic disciplines.
During the course, the student will come to grips with graphic representation techniques, colour theory, internal space organization and he will learn how to use material application with different technologies.
The first level course in “Interior Architecture and Design” aims to develop design skills, artistic and professional skills, qualified by the formation of a professional figure that fuses together two models of thought and that using modelling and new technology, as well as very many expressive languages, cures the realization of living areas, work places, social places, recreation areas whishing not only to make them functional and livable but also attractive combining inside-outside features, iconography and building value.
The course supplies an adequate technical-operative formation, with methods and contents that deal with the various areas of use (furniture, construction, real-estate, accessories, museums, exhibitions)) in order to develop an autonomous and personal designing idea and awareness of the artistic production, as well as the management of all design-modelling-execution-communication techniques needed to operate in all fields of application, both public and private ones.
Students are also given the opportunity to carry out internships and training stages at Design Studios and at architecture, furniture, living studios and also with companies and public and private institutions in order to acquire operational expertise through direct experience, in view of their professional activity.
Students with a degree in Interior Architecture and Design have several opportunities in the world of work with:
The knowledge acquired will allow graduated students to work for manufacturing companies in various professional areas with different qualifications. Students will be able to:
Emotive temperature and colour physicality from Giotto’s frescoes to the performance of Achille Lauro.
First module (70 hours)
We will analyze colour and its use both in connection with physicochemical and emotional implications deriving from it, through a trip that retraces the history of art and the connections with other arts and disciplines. The course will be characterized by a comparison between different eras and, therefore, between images used and predominant colours (Giotto ultramarine blue/Picasso blue/ International Klein Blue and blue after Klein. Titian red and Cardinal red, Matisse red, Burri red, Rothko red, all the way to the red shirts chosen by combat sports athletes, and so forth and so on with more colour shades…), indirectly reviewing also all the art works and contamination with design, advertising, cinema, fashion.
Monographic course (5 hours)
Vanessa Beecroft (Genoa 1969) merges in her works perfection and suffering, aestheticization and forms of asceticism based on resistance and control. Since the beginning of her career she centered her research on the female body, displayed according to a formal, geometric and colouristic rigor that composes articulated tableaux vivants. The point of departure for her work was, in 1993, Despair or the Food Book, with typewritten lists of foods- divided by quality and colour-, eaten by the artist from 1983 to 1991, when she was suffering from anorexia. Her first performance, VB01, was correlated to this work. Thirty girls she met in the streets, at the Academy, or in the surrounding areas, that reminded her of paintings of the Renaissance or of movie actresses of the sixties, wore her clothes, whose colours referred to a group of water colours placed on the floor. More than a hundred performances followed the first one, all titled with her initials, VB (that became sorts of a trademark, a logo) and the action number. During the monographic course we shall take a trip among these warm but frozen bodies, simulating with their representations, Renaissance painting, classic sculpture, cinema, architecture; bodies lent to fashion glam, to video clips, with a continuous reflection on contemporary western society, shown by media exposure with all its contradictions and obsessions.
This course wishes to see colour used when realizing an image and emotional stimulation. We wish the student to develop an expertise in the cultural, historical, alchemical, symbolic, psychological and healing meaning of colour itself, supplying the analytical and critical methods for proper design.
The exam will consist of an oral interview and a written essay.
Any art history book is advisable in order to have a general knowledge of the various historical periods together with those suggested by teachers of history of modern and contemporary art. As for biographies I suggest Giunti monographies, while for eighteenth century art: Hal Foster, Rosalind Krauss, Yve-Alain BoisArte dal 1900. Modernismo, antimodernismo, postmodernismo, Zanichelli, 2017 / Angela Vettese, Si fa con tutto. Il linguaggio dell’arte contemporanea, Laterza, 2015).
Rudolf Steiner, L’essenza dei colori, Editrice Antroposofica, 2013 (prima edizione 1929)
Two or more books to be chosen among:
Michel Pastoreu I colori dei nostri ricordi, Ponte delle grazie, 2011
Claudio Widmann, Il simbolismo dei colori, Edizioni Ma.Gi, 2014
Lia Luzzato, Renata Pompas, Il significato dei colori nelle civiltà antiche, Bompiani, 2017
Sophie Duplaix, Gina Pane (1939-1990). È per amor vostro, catalogo della mostra MART, Rovereto, 17 marzo – 8 luglio 2012, Hoepli, 2012
THEORY OF PERCEPTION AND PSYCHOLOGY OF FORM
The Course of Theory of Perception and Psychology of Form wishes to illustrate the study of different theories concerning the mechanisms of perception, with particular reference to the perception of vision.
Issues on psychophysics of vision and anatomo-physiological aspects of the visual system will be analyzed, underlining how they are closely connected to our perception of the real world.
Birth and development of the main theories and models that characterized visual perception, will be studied, focusing on the fact that they are based on physical, physiological and psychological principles, with a particular reference to the concept of experimental phenomenology of the Gestalt school.
Particular attention will be given to analysis of differences between physical world and phenomenal world, especially with regard to knowledge and application, during design, of specific regulations defined by the philosophy of perception.
The concepts of sensation and perception ; the visual system and the psychophysical chain; development of main perception theories ( from associationism to Gibson’s ecology theory); the Gestalt school and formal unification systems; illusion and ambiguous figures; perceptive consistency; the psychological bases of perception of the physical world and of the phenomenal world.
Methods of evaluation
The exam includes a written multiple choice and open response test .
Stefano Mastandrea – Psicologia della Percezione – Carocci 2017
INTERIOR ARCHITECTURE I
The course objectives are exploration and acquisition of design modalities regarding Architecture of Interiors through typological, spatial, functional, material, characters. Special attention is given to the search of new forms of contemporary living seen as a complex, transversal phenomenon, that moves from residence to workplace, from culture to free time. It has been verified in different ways of intervention all the way to the definition of internal space and construction detail. Teaching will be carried out as a constant dialogue between compulsory frontal lessons and design exercises with weekly compulsory tests, to help students conjugate critical capacity and design ability. The design exercises will cover organization of a domestic space, referred to the use and behaviour of contemporary inhabitants, giving specific attention to ongoing living evolution and to the dialectic between built space, figuration, dimensioning, material and building aspects, environmental control, energy performance. Finality of the course is the acquisition of consciousness regarding tools used in this discipline, that accurately defines metric, dimensional, formal and perceptive connotations (chromatic, tactile, olfactory, sonic) of environments and objects, coming into contact with material knowledge and culture. The primary objective is the acquisition of the ability to understand and identify the most efficient solutions to provide comfort to inhabitants and, at the same time, to reflect their identity and, if possible, to enrich it.
Methods of evaluation
The final exam verifies design exercises, done individually or in a group. The final evaluation will take into account:
The final evaluation will take into account the “diary of revisions” written by the teacher and by his collaborators. It will testify continuity, coherence and consistency of the work done.
Thesis of reference
Fulvio Irace, a cura di, Storie d’Interni, Carocci Editore 2016.
TECHNICAL PROJECT DESIGN
Make the student acquainted with the main methods of drawing, study and application of tools and imaging techniques, indispensable for understanding and communication of the project itself;
Comprehension and communication of project idea.
Introduction: course presentation.
Students must submit a portfolio with all exercises done during the course together with a project representation to be agreed with the teacher.
M. Docci, M. Gaiani, D. Maestri, Scienza del disegno, Città Studi, Novara 2011.
This course, integrated with graphic designer’s enterprise, communication, and culture techniques, wishes to help students have the knowledge and the needed tools to better interface with those who have a defined, strategic, enterprise general plan: exhibition design is an effective interaction between communication and architecture, carried out through a design culture of volumes, spaces, floors, materials; concepts, planning and strategies to supply an unprecedented and functional project to the purpose of a brand.
From brief to strategy, from concept to production: with project implementation, students will face every phase of the creative process, where graphic design, inside of a defined tri-dimensional space, is of fundamental importance.
Lesson will be structured into two modules:
a Module) historical/cultural deepening – exhibition design technician
relationship between graphic and built environment/architecture; design method and visual communication; space study, circulation, fluxes; function and perception of objectives; definition of “mood board” and “color scheme”; space through bi-dimensional and tri-dimensional elements; technical design and different relief textures; horizontal and vertical building materials; lights, shades, textures.
b Module) project for an exhibition design
synthesis of an expanded planning: representation of a tri-dimensional visual narration that, together with a coherent and enthralling graphic communication, may be able to interpret, in a transversal way, the project theme.
Project tables must express, in a clear way, the defined will of the Designer using mood board, video images, sounds, key words, technical design, renderings. (plan – sections – prospects and details).
The course includes some didactic visits to fairs and museums as practical exercises for the survey and study of space ( to be defined).
Methods of evaluation
The final exam includes presentation of the papers developed in the Module b.
During the oral exams we will have the theoretical (Module a) and the graphical and oral presentation of the project developed during Module b.
Textbooks and reference bibliography:
Exhibition Design, Philip Huges, Laurence King Publishing Ltd London
DIGITAL MODELING TECHNIQUES
Widen your knowledge through research in the context of history of communication and analysis of present projects.
Supply practical basic elements useful for professional activity.
Offer a range of different approaches to design.
Autonomous construction and declination of a brand/logotype.
Better understanding of all phases of the design method (research, creative process/experimentation, design and definition).
Ability to develop powers of observation, research and analysis, fundamental for the formulation of design solutions.
To be able to define, design and submit the visual strategies of a product, a company or an entity based on communication requirements.
Methods of evaluation
The exam interview will be on the work done in the Lab.
The final exam will be based on the evaluation of the two exercises that require the production of a paper report where projects realized will be submitted and paginated.
M. Docci, M. Gaiani, D. Maestri, Scienza del disegno, Città Studi, Novara 2011.
Objectives and contents
The course helps the student reach knowledge and understanding of tools put at his disposal by the Adobe package: Photoshop, Illustrator and InDesign. Particular attention will be given to understanding which is the most suitable software for the creation of an elaborate and for file management while using different kinds of software. Students must be able to manage correctly the colour space, resolution and technical settings to develop an elaborate for printout and a web layout.
The course supplies the knowledge for the complete use of Adobe graphic software: Photoshop to manage photographic images and the creation of a graphic bitmap, Illustrator for creation of illustrative graphic elements, typographic elements in vector environment and InDesign for layout.
Methods of evaluation
Individual testing, where course output will be evaluated, giving specific attention to coherence of materials chosen and the quality of the production process; basic knowledge and peculiarities of the each software will also be verified.
All activities during courses, labs, meetings with special guests and workshops, will lead, together with the final stage experience, to a preparation that will help give immediate access to the work environment.
The ABA UD teaching program looks back at the experiences of historical design schools with their ideas of interaction between theory and practice, and assigns fundamental subjects to teachers as well as artists or famous professionals, flanked by other experts in their sectors, which is a fundamental way to transfer know-how.
Learning activities will help reach the third year of studies ready to face the final stage experience together with Thesis preparation, the best business card for an immediate entry into the world of work.
The Accademia di Belle Arti GB Tiepolo offers deserving students with an ISEE lower than 36.000 euro, enrolled in the first year of courses, the possibility to have a 1,200 euro scholarship as a reduction of their academic fees through a ranking list published, within the month of October, on the official site. Economic requirements will be examined based on the student family’s income and assets, keeping in mind the (ISEE), certificate of economic status for the 2019 solar year. Such certificate must be submitted within the terms indicated in the special section (Notices).
The Regional Agency for the Right to Higher Education-ARDISS supports students with a Regional Call for the assignation of benefits and for the provision of services for the right to university education: contributions for scholarships, international exchange, allocation of student accommodations and discounts for the university cafeteria.
Grants for scholarships are awarded to students attending all Universities legally located in Friuli Venezia Giulia and all AFAM Institutions. Students of the Accademia Tiepolo applying for scholarships may request further information at www.ardiss.fvg.it
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Due to the Covid-19 epidemic, there will be no admission test to ABA UD for the a.y. 2020/2021
Registration to the Graphic design for enterprise course, will be accepted to complete the programmed number of 60 seats.
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