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.
OBJECTIVES
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.
BIBLIOGRAPHY
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).
Philip Ball, Colore. Una biografia. Tra arte storia e chimica, la bellezza e i misteri del mondo del colore, BUR Rizzoli, 2004
Manlio Brusatin, Storia dei colori, einaudi, 1999
Johann Wolfgang von Goethe, La teoria dei colori, Luni, 2013 (saggio scritto nel 1810)
Rudolf Steiner, L’essenza dei colori, Editrice Antroposofica, 2013 (prima edizione 1929)
Johannes Itten, Arte del colore, ediz. Il Saggiatore, 2010 (prima edizione 1961)
Kassia St. Clair, Atlante sentimentale dei colori, De Agostini, 2018
Riccardo Falcinelli, Cromorama, Einaudi, 2017
David Batchelor, Cromofobia. Storia della paura del colore, Mondadori, 2006
John Gage, Colore e cultura. Usi e significati dall’antichità all’arte astratta, Istituto Poligrafico
dello Stato, 2001
Manlio Brusatin, Vittorio Mandelli, Un colore mai visto. Il colore nell’epoca della sua
riproducibilità tecnica, Property Scala, 2003
Vasilij Vasil’evič Kandinskij, Lo spirituale dell’arte, SE, 2005
Marcella Beccaria, Vanessa Beecroft. Performances 1993-2003, Catalogo della mostra (Torino, ottobre 2003-gennaio 2004), Skira, 2003
Michel Pastoureau, Il piccolo libro dei colori, Ponte delle grazie, 2006
Nero. Storia di un colore, Ponte delle grazie, 2016
Blu. Storia di un colore, Ponte delle grazie, 2018
Rosso. Storia di un colore, Ponte delle grazie, 2016
Two or more books to be chosen among:
Michel Pastoreu I colori dei nostri ricordi, Ponte delle grazie, 2011
Marc Augé, Un etnologo nel metrò, Eleuthera, 2017
Alison Lurie, Il linguaggio dei vestiti, Armando, 2017
Federico Pierotti, Un’archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni, ETS, 2006
Lia Luzzato, Renata Pompas, Il significato dei colori nelle civiltà antiche, Bompiani, 2017
David Lynch, Kristine McKenna, Lo spazio dei sogni, Mondadori, 2018
Luca Venzi, Tinte esposte. Studi sul colore nel cinema, Luigi Pellegrini Editore, 2018
Ernst H. Gombrich, Arte e illusione. Storia sulla psicologia della rappresentazione pittorica, Einaudi, Phaidon, 2009
Rudolph Arnheim, Arte e percezione visiva, Feltrinelli, 2008
Maurice Merleau-Ponty, L’occhio e lo spirito, SE, 1996
Claudio Widmann, Il simbolismo dei colori, Edizioni Ma.Gi, 2014
Richard L. Gregory, Occhio e cervello, Raffaello Cortina, 1998
Un colore tira l’altro. Diario cromatico, Ponte delle grazie, 2019
Marc Augé, Un etnologo nel metrò, Eleuthera, 2017
Alison Lurie, Il linguaggio dei vestiti, Armando, 2017
Lia Luzzato, Renata Pompas, Il significato dei colori nelle civiltà antiche, Bompiani, 2017
David Lynch, Kristine McKenna, Lo spazio dei sogni, Mondadori, 2018
Luca Venzi, Tinte esposte. Studi sul colore nel cinema, Luigi Pellegrini Editore, 2018
Ernst H. Gombrich, Arte e illusione. Storia sulla psicologia della rappresentazione pittorica,
Einaudi, Phaidon, 2009
Rudolph Arnheim, Arte e percezione visiva, Feltrinelli, 2008
Maurice Merleau-Ponty, L’occhio e lo spirito, SE, 1996
Claudio Widmann, Il simbolismo dei colori, Edizioni Ma.Gi, 2014
Richard L. Gregory, Occhio e cervello, Raffaello Cortina, 1998
Anna Starmer, Enciclopedia degli schemi di colore, Il Castello, 2018
Sean Adams, Colorpedia. Guida ai colori per grahic designer, Logos, 2017
Stephen Farthing, David Scott Kastan, Sul colore, Einaudi, 2018
Simon Garfield, Il malva di Perkin. Storia del colore che ha cambiato il mondo, Garzanti, 2002
Hans Silverster, Natural Fashion – Decorazioni tribali d’Africa, 2007
Guy Deutscher, La lingua colora il mondo: Come le parole deformano la realtà, Bollati Boringhieri, 2016
Derek Jarman, Chroma, Ubulibri, 1995
Enrica Antonioni, Il silenzio a colori di Michelangelo Antonioni, Campisano, 2006
Lia Luzzato, Renata Pompas, Il significato dei colori nelle civiltà antiche, Bompiani, 2017
Dominique Paini, Alain Bergala, M. L. Pacelli, Lo sguardo di Michelangelo. Antonioni e le arti, Ferrara Arte, 2013
Michele Scapino. Cromoterapia, EDITORIALE OLIMPIA, 2002
Vicky Wall, Guarire con i colori, Mediterranee, 1996
E. H. Gombrich, Ombre, Einaudi 1996
Sophie Duplaix, Gina Pane (1939-1990). È per amor vostro, catalogo della mostra MART, Rovereto, 17 marzo – 8 luglio 2012, Hoepli, 2012
Neville Wakefield, Thyrza Nichols Goodeve, Nancy Spector, Henry Jenkins, Matthew Barney: The Cremaster Cycle, Guggenheim Museum Pubns, 2002
Marc Augé, Un etnologo nel metrò, Eleuthera, 2017
Alison Lurie, Il linguaggio dei vestiti, Armando, 2017
Federico Pierotti, Un’archeologia del colore nel cinema italiano. Dal Technicolor ad Antonioni, ETS, 2006
Lia Luzzato, Renata Pompas, Il significato dei colori nelle civiltà antiche, Bompiani, 2017
David Lynch, Kristine McKenna, Lo spazio dei sogni, Mondadori, 2018
Luca Venzi, Tinte esposte. Studi sul colore nel cinema, Luigi Pellegrini Editore, 2018
Ernst H. Gombrich, Arte e illusione. Storia sulla psicologia della rappresentazione pittorica, Einaudi, Phaidon, 2009
Rudolph Arnheim, Arte e percezione visiva, Feltrinelli, 2008
Maurice Merleau-Ponty, L’occhio e lo spirito, SE, 1996
Claudio Widmann, Il simbolismo dei colori, Edizioni Ma.Gi, 2014
Richard L. Gregory, Occhio e cervello, Raffaello Cortina, 1998
Educational objectives
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.
Skills acquired
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 .
Bibliography:
Stefano Mastandrea – Psicologia della Percezione – Carocci 2017
Silvia D. Ferraris – Vedere per progettare, Basic Design e percezione visiva per il disegno industriale -Franco Angeli 2014
Manfredo Massironi – Fenomenologia della percezione visiva – Il Mulino 1998
Materiale didattico delle singole lezioni e articoli di approfondimento verranno forniti dal docente.
Educational objectives
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.
Riccardo Salvi, Manuale di architettura d’interni: l’abitazione, Franco Angeli, 2019.
Sou Fujimoto, Primitve Future, INAX Publishing, 2008.
Atelier Bow-Wow, Graphic Anatomy 1 & 2, TOTO Shuppan, 2007.
Iñaki Abalos, Il buon abitare, Marinotti editore, 2009.
Giò Ponti, Amate l’Architettura. L’architettura è un cristallo, Rizzoli, 2008.
Federico Bucci, Giampiero Bosoni, Il design e gli interni di Franco Albini, Mondadori Electa, 2016.
Objectives
Snippets of History of Photography.
Acquire basic notions of photographic language and techniques.
Learn about and master the photographic tool through the use of Accademia equipment.
Recognize light as a fundamental design tool and the importance of its influence on the human being.
Know the factors that influence natural light and be able to face resulting problems.
Know methods of combination of natural light with artificial light for a complete lighting project.
Author analysis.
Contents
Teaching methods
Frontal lessons and exercises, group work and didactic visits.
Educational objectives
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;
make the student acquainted with traditional representation techniques and offer a basic knowledge of elements needed for the bi-dimensional and tri-dimensional vector representation of the project;
make the student analyze vector design processes , highlighting automation implications in the project;
supply the skills needed for the creation of digital models and drafting on paper of graphic tables of the project with the application of digital representation tools and of specific study cases.
Skills acquired
Understanding the use of terminology of traditional and digital design.
Control of traditional and digital tools in project representation.
Analysis, creation and representation of a case study.
Comprehension and communication of project idea.
Programme
Introduction: course presentation.
Design coding in project communication.
Orthogonal projections, prospect design, section, dimensioning.
Introduction to digital design: use of software in project representation.
The bases of digital design: bi-dimensional vector representation and file management.
Setting and printout of a digital table.
Laboratory exercises.
Examination procedures
Students must submit a portfolio with all exercises done during the course together with a project representation to be agreed with the teacher.
Bibliography
M. Docci, M. Gaiani, D. Maestri, Scienza del disegno, Città Studi, Novara 2011.
C. Florian, Rappresentazione vettoriale e disegno di architettura, Liguori editore, Napoli 2008.
S. Boraso, Il linguaggio grafico nel disegno industriale, Armando Editore, Roma 2004.
W. J. Mitchell e M. Mc Cullough, Digital Design Media, Mc Graw Hill, Milano, 1996.
Educational objectives
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.
Skills acquired
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
Graphic Design + Architecture A 20th Century History, Richard Poulin, Rockport Publishers.
Exhibition Design nelle organizzazioni, Guido Muneratto, Francoangeli Editore
Rassegna, Allestimenti/Exhibit Design, n°10; giugno 1982.
Sergio Polano, Mostrare, l’allestimento italiano dagli anni venti agli anni ottanta. Edizioni Lybra
Siti web, Social e Blog di settore.
Ulteriori indicazioni verranno fornite durante il corso.
Educational objectives
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.
Skills acquired
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.
Bibliography
M. Docci, M. Gaiani, D. Maestri, Scienza del disegno, Città Studi, Novara 2011.
C. Florian, Rappresentazione vettoriale e disegno di architettura, Liguori editore, Napoli 2008.
S. Boraso, Il linguaggio grafico nel disegno industriale, Armando Editore, Roma 2004.
W. J. Mitchell e M. Mc Cullough, Digital Design Media, Mc Graw Hill, Milano, 1996.
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.