Pratt Institute School of Architecture Undergraduate Spring Rome Program Course Syllabus

Arch 400i-402 Advanced Design Design Spring 2005 Class Credits: 5 Type of Course: Required Studio - Honor’s Program Class Meetings: T/TH 9AM-1PM & TH 2-6 PM Pratt Studio @ Santa Maria in Trastevere Prerequisites: Arch 301/ 302 or equivalent with at least a grade of “C” & Roman Form ARCH 420 – Honor’s Program Review Enrollment Capacity: 30 (2 sections of 15) Instructor’s Names: Anthony Caradonna - [email protected] / Richard Sarrach – [email protected]

Course Overview: This course will initially focus on analysis of historic models to reveal distinct architectural patterns within Rome. Design processes will explore the transformation of Roman prototypes. Design issues include understanding urban form as an accommodation of the city's growth, and accretive intervention within a fragmented historic context. Studies will conclude with formal propositions within the context of the city fabric.

Rome, the eternal city of cultural and historical treasures, inventions, influence and endless lessons, is a rite of passage for those privileged to reside in the midst of this living laboratory, and study, first-hand, the palimpsest of accumulated artistic, architectural and urban masterpieces framed and intertwined within the puzzle of the urban fabric. Pratt Institute's Spring Semester in Rome provides an opportunity for qualified students to live and study in this unique context. The lesson of Rome is one that goes beyond its strong architectural heritage. It presents a different culture, language and landscape, where history assumes a dominant role in the continuum of time. This is an environment, which generates particular responses, specifically toward people and toward an appreciation of urban place.

The encounter with the city, a place foreign and yet familiar, profound and contradictory, is intended to site a reconsideration of design priorities. The investigation of the remains of antiquity and Rome's urban artifacts can offer a unique lesson; the interaction of physical cause and cultural effect on the built environment and its cumulative presence through time.

The program undertakes an intensive study of the city's architectural and cultural history, providing the student with experiential insight into the precedents that have had an enormous impact on the development of architecture in the western world. This course engages the student in developing design strategies for architectural and urban intervention in a city which requires respect for the valued and respected integrity of its artistic heritage, yet yearns for and welcomes continuous investigation, reinterpretation and renewal. In the twenty-seven years that the program has been offered, it has always been intended that the contrast between New York and Rome would stimulate discourse and inspire re-evaluation of existing preconceptions.

Learning Objectives: Conceptual translations: Ideas into space and material Accepting the platonic credo that the unexamined life is not worth living, the4th year studio challenges students to develop a personalized, reflective, self-guided, conceptually-driven, critical, rigorous design process that is, directed, regulated and revised by ideas and strategies and formulated through research, experimentation, evaluation and transformation. This articulated process is intended to assist students in developing an autodidactic approach to life-long architectural education. It also forms the basis of critical practice where research, inventive decision making and the translation of an overarching concept into culturally responsive, responsible and innovative architectural proposals can meaningfully contribute to the existing, built and developing environment.

Urban Dichotomies = Parts to Whole The universal space of colonial, post industrial cities like New York, where the abstract grid provides a legible, simple and repetitive urban fabric based on the Cartesian coordinates and where the homogeneous space of the city sets all architectural works within a continuum of repetitive modulation; city blocks and vehicular streets, negligibility- quickly erasable and replaceable buildings, displacement by the electronic speed and demands of capitalism, real estate development and the technological culture of continuous obsolescence, expansion and transformation.

In contrast, the figural space of the historical, pre-industrial, pilgrimage city is composed of unique individual built works and spaces which exist as recognizable, unique “places” defined by architectural elements- theatrically orchestrated, strategically located, interlocked and linked by a network of pedestrian pathways as destinations within the city. The identity and image of the city of Rome is understood through the inhabitation and interior experience of these very distinguishable and time-honored spatial and architectural fragments and pathways. Paradoxically the resulting palimpsest of the urban plan is an elusive and incomprehensible structure. Therefore, the urban fabric itself requires critical reading and reinterpretation and invites speculation, intervention and transformation.

Students will engage in the architectural and urban discourse inherent in the spatial dichotomy of fluid, universal and figural space and develop strategies for researching, formulating a position, conceptualizing and proposing interventions that deal with these multiple readings of architectural space and develop approaches for addressing the enlightened past of the eternal city and the promising future of the twenty first century city.

Students will investigate the relationship between the parts and the whole through the study of the historical transformation and layering of the architectural and urban form, through an understanding of urban infrastructure and its underlying organizational principles, through the relationship between buildings and urban space, and, through the study and transformation of specific roman building types and their constituent architectural components. The detailed development, planning and identification of physical elements and assembly strategies require a scalar focus that links ideas at telescoping levels, from the parts to the whole.

Research & Analysis Students will capitalize on the wealth of historical examples at hand in the Roman built environment, through the focused study of existing, indigenous urban and architectural models, specific indigenous roman building types and precedents that have been examples of reuse, recombination, adaptation and transformation.

The first month of the semester will be comprised of an emersion into two areas of research in preparation for developing interventional design strategies within the rich historical city fabric:

The first month of the semester will be focused on examining the Pantheon in order to extract specific readings and lessons from the most influential building in ancient Roman building in architectural history. Reference to buildings influenced by the Pantheon will be cited and addressed where critical issues arise.

The bulk of the semester will focus on the role of water and waterworks in the life and urban fabric of Rome. The Thermae and Balnae or public and private bath building types,specifically, in Rome, Ostia and Pompeii will be introduced and compared. Related water structures including the rivers, lakes, waterways, reservoirs, aqueducts, bridges, pools, fountains, piazzas, villas, gardens and sewers will be introduced to inform a more complete map of the ancient Roman hydro-infrastructure and of the rich context of life and history of water in the eternal city.

Observational and analytical methods of drawing and modeling on-site and in-studio will cumulatively evolve into architectural and urban strategies for intervening on the site where the ancient Roman Pons Aemilius once spanned the Tiber River and its last remaining fragment now known as the Ponte Rotto still stands.

Documentation and analysis of the project site will contribute to a deeper understanding of its past and potential development.

Investigation A Architectural Research - KIT OF PARTS: Roman Instrumentatality PANTHEON STUDIES

“As may be seen time and time again in a range of contexts, the Romans’ attitude to design was flexible: it was a matter of applying principles rather than fixed rules or recipes.” Mark Wilson Jones from, Principles of Roman Architecture

The Pantheon is the crowning legacy of the development of the roman semicircular arch. The best-preserved monument of ancient Rome is also the most impressive symbol of the Roman Empire. It endures physically and continues to exert influence upon architecture as it has for almost two millennia.

The first part of the semester students will study and disassemble the Pantheon in order to understand its component parts and how they contribute in framing this singular and unforgettably unique interior space in western architectural history.

Phase 1 Disassembly: Skinning the Shell G.B.Piranesi’s infamous archaeological reconstructions and inventive analytical drawing techniques provide a useful tool for modeling the relationships of individual architectural components to a larger all encompassing work. His unwrapping of the mausoleum of Augustus?/Hadrian? flattens the circular drum structure into a linear elevation creating an unfolded reading of its shell and its constituent masonry units. Students will employ this strategy in order to explore the incremental, serial and episodic relationship of elements that contribute to the unifying arc- works of its spectacular domed drum interior. Distinguishing the kit of parts of the Pantheon’s shell structure allows insight into the componenture of ancient Roman design principles and the instrumentality and flexibility of the arch, and their ability to create infinitely inventive combinations of interior surface and spatial configurations. Students will apply these lessons in the development of their design proposal.

Piranesian foldout studies 1 On-site photographic and sketchbook studies 2 Pantheon surface zone distribution mapping / flattened photo-stitch documents and drawings 3 Section and Plan module drawings 4 Section and Plan Sequence drawings 5 Pantheon component model(s) 6 Pantheon Puzzle: Sequential model(s)

Phase 2 Pattern Logic: Pantheon Puzzling / TermaeTangram G.B. Piranesi’s Campus Martius drawings were speculative studies inventively applied his own archaeological knowledge of ancient Roman building types, construction techniques and spatial vocabulary. Students will engage in in a similar process of development combinatorial pattern logic. Louis Kahn, a modern student of ancient Roman architecture, employed Tangram strategies in studying the spatial relationships and organizational scenarios in his buildings and projects. Students will be exposed to Roman Bath building type plans in order to become familiar with this rich catalogue of variations on a simple organization theme.

Translate & Develop/Deploy – Instrumentality of KOP 1 Containers – Water & People Module: Spatial – geometric & dimensional Structural - span & support Surface – perimeter & enclosure/container for water and people Skin – Planar Areas: Undulating surface boundaries / wave structure. Planar system & components

2 Conduits– Passage for people and water archways, ducts, bridges, walkways, bridges, stairs, ramps

3 Organization of modules – seriality: aligned, grouped, clustered

4 Connectors & Joints

5 Public Space – Piazza / Palestra / Courtyard / Riverbank(s) &/or Tiber Island

Notebook studies 1 Ostian, Pompeiian & Roman Thermae Plans & Program Sequences 2 Small Baths @ Hadrian’s Villa – Tangram sequencing exercise 3 Pantheon Puppet Pattern Logic Study - component module development drawings

Phase 3 Pattern Logic: Site Assemblies / TermaeTangram The Pons Aemilius sits isolated awash in the waters of the Tiber. Its pier foundation outlines flooded beneath the currents. Students are asked to build on the documentation and analysis of the Pons Aemilius and the historical, tidal and urban layering of the site’s section and begin to develop interventional, organizational and programmatic strategies for the site.

Water Levels Historical & Sectional Layers Axes and Edges Pier spans and grids River and Island Banks Sectional & Plan Alignments

- paper models: paper cylinders, conical cups, curled parchment paper, plastic containers the structure of curved geometries and surfaces areas & boundaries - freehand analytical sketching and analytical drawing - digital modeling

Phase 4 Project Arcticulation: Section & Plan Development Horizontal, Vertical, Diagonal & Curved Elements Vertical & Horizontal Spatial & Programmatic Sequences & Hierarchies Containers & Conduits Solids & Voids Materials & Thickness Structure / Skin / Circulation / Apertures

Phase 5 Project Development Kit of Parts (all projects are required to consider and fully implement the following): 1 structural systems (wall, slab, roof, arch, vault, dome) 2 enclosure systems (curtain wall, retaining wall, roof) 3 movement systems (passageways, halls, ramps, stairs, fire stairs & elevators) 4 aperture, vista & lighting (windows, doors, skylights, openings).

InvestigationB Urban Research (Urban Studies course ARCH 291v) Ponte Rotto / Isola Tiberina / Lungotevere Student collaborative teams will document the 4 sections of the site:

Section A Ponte Rotto to Isola Tiberina Section B Ponte Rotto to Lungotevere Section C Ponte Rotto to Ponte Palattino Section D Ponte Rotto to Lungotever / Via della Lungaretta

The piazza, the urban exterior public space which pervades and characterizes Rome’s urban plan, with its roots in the Roman forum, functions both as a destination space as well as a joint, channel or connector for other spaces and pathways within the city.

The studio will ask students to collect and analyze several physical / spatial artifacts that can be understood to thematically underlie the city’s larger and more varied narratives. These prototypes and variants will provide students with a subject for a comparative method of incremental analysis. This will further allow students to develop strategies for adaptive reuse and transformation and synthesis of these urban building types into new architectural proposals. These reassembled fragments will become the basis for a synthetic architectural intervention to be located along the.

Required Documentation: Figure Ground – Exisiting Conditions (careful section of inhabitable space) Ground Plan – Exisiting Conditions Include overlays of axial center & cross axial centers to indicate alignments, coordinations & relationships Figure Ground – from Nolli or pre 1875 as a discussion of transformation Longitudinal Elevations – each site/side Cross Sections Elevations Contingent or projected discussions based on each section Site Model

Students will combine spatial module research and site analysis to develop an intervention strategy to address the ponte rotto ruin create a new connection develop a new bath waterworks complex

Site Description: Site: Ponte Rotto / Isola Tiberina / Lungotevere

The PONTE ROTTO as epicenter defines the project site for the semester. In the bed of the Tiber (Tevere) is a single arch of the PONS AEMILIUS, the first stone bridge over the Tiber(the piers were built in 179 BC, and were connected by arches in 142 BC). From the 13C onwards it was repaired numerous times, and has been known as the PONTE ROTTO (broken bridge) since its final collapse in 1598. From the parapet of the iron Ponte Palatino, which crosses the Tiber to Trastevere,(across the Tiber) the mouth of the Cloaca Maxima may be seen under the quay of the left bank, when the river is low.

The Velabrum, once a stagnant marsh left by the inundations of the Tiber, extended between the river and the Palatine, and included the Fourm Boarium. The derivation of the name is uncertain. The Velabrum is famous in legend as the spot where the shepherd Faustulus found the twins Romulus and Remus. It was drained by the Cloaca Maxima, which was an extensive system serving the valleys between the Esquiline, Viminal, and Quirinal Hills, as well as the Roman Forum. At first a natural watercourse to the Tiber, it was canalized by Tarquinius the Elder and Servius Tullius (c 616-535 BC), and arched over in c 200BC, it is still in use.

ISOLA TIBERINA is the only small island located in the Tiber. The Ponte Fabricio, the oldest Roman bridge to have survived in the city, and still in use for pedestrians, reaches it from the left bank. The inscription over the fine arches records the name of the builder, L. Fabricius and the date, 62 BC. The bride is also known as the Ponte ‘dei Quattro Capi’ from the two herms of the four-headed Janus on the parapet. Remains of the Ponte Rotto can be seen upstream. The island, which provides an easy crossing place on the Tiber, is thought to have been settled early in the history of Rome. A temple of Aesculapius was dedicated here in 291 BC (after a plague in 293 BC) and ever since the island has been associated with the work of healing.

It is now largely occupied by the hospital of the Fatebenefratelli, founded in 1548, and modernized by Cesare Bazzani in 1930-34. On the right is the church of SAN GIOVANNI CALIBITA founded in the 11C and reconstructied in 1640. In the 18C interior is a ceiling painting by Corrado Giaquinto(Pugliese painter from Molfetta). On the left is a tall medieval tower, formerly part of an 11C fortress, and Piazza San Bartolomeo. The island was formerly encircled with a facin of travertine, a portion of which still remains at the extremity, which can sometimes be reached through the archway on the left of San Bartolomeo. It is in the form of a ship with the serpent of Aesculapius carved on it in relief. There are long term plans to open a museum illustrating the history of the island in the interesting medieval building here, now owned by the Comune.

The church of SAN BARTOLOMEO, on the site of the temple of Aesculapius, was built in the 10C in honour of St Adalber, Bishop of Prague, and several times restored, notably by Orazio Torriani in 1624; the tower is Romanesque. The interior contains fourteen antique columns, and an interesting church. There is a hall crypt beneath the transept. The S side of the island is joined to Trastevere by the Ponte Cestio, probably built by L. Cestius in 46 BC, restored in AD 370, and rebuilt in 1892 (the center arch to its original design and measurements).

The site of the island and bridges within the river, the riverbanks and the event of water carving a meandering path through the city is not only the point of origin of the ancient city but a critical part of its physical and historical development. Waterways and waterworks form the basis for the development of the architectural and urban heritage. The site presents an opportunity to revive and redefine the role of the river, watter and waterworks in the city. Students are asked to address the past, current and future meaningful relationships in the urban context- lost existing and potential- to “heal” or bridge the existing disruptions between architectural and natural elements.

The Program - Healing Waters Program Brief: Spa @ the Ponte Rotto / Isola Tiberina Baths / Spa / Baptismal / River Garden / Water Park

Students will be required to develop a conceptual position relative to the program of a waterworks on the Tiber River @ the Pons Aemilius/Ponte Rotto site, from personal studies of the Roman Bath types studied during the semester. Students will develop a program and sequence of interior and exterior, public and private spaces that engage and address:

- Redefine the site as a historical and symbolic urban place related to Healing - Reestablishing the role of water, Roman waterworks & the legacy of bath typologies - Reconnecting the isolated architectural/infrastructural ruin of the Pons Aemilius/Ponte Rotto to its context - Redefining the role of the Tiber River and its banks as Urban Space

The program is to be based on a critical inventive development of the Roman Bath. Serious attention and understanding of the programmatic and spatial planning and sequencing of the classic Roman Bath room types is fundamental to conceptual and architectural development of the project.

Two basic spatial types will be developed: Containers(Interiors) and Conduits(Passageways) for water and people. Variations of sequential itineraries will be explored to develop siting strategies and spatial experiences of the site and the project.

Three primary program elements each distinctive in their function and demands are to be conjoined, addressing the overlaps and interrelationships of existing and developing.

1 Spa/Baths/Garden/Park Entry / Reception Changing Rooms – Apodyteria Bathroom(s) + Shower(s) - Latrine Cold Baths - Frigidarium Warm Baths - Tepidarium Hot Baths – Calderium Steam / Sweat Room - Licanicum Outdoor sports/field/track/walkway(s) - Palestra Outdoor Pool - Natatio Massage Room(s) Public Fountain(s) / Waterworks / Watergarden Dining Room Bar/Cafe Library / Bookstore Shops (retail) Island Ponte Rotto Gallery/Museum

2 Service Spaces HVAC and Machine Room(s) Water/Steam production, distribution, circulation, heating, purification machinery Storage Spaces Circulation Spaces Reservoir/Water storage -Castellum Water distribution/circulation Kitchen Service Entry(ies)

3 Private Rooms 12-36 Private Rooms(w/ bathroom & shower) Courtyard

Course Requirements: As per Institute rules, (3) three unexcused absences will result in an automatic failure of the course. Developmental drawings, models and supporting documentation are required for each class. Attendance and participation in midterm and final presentations are required. Full participation in collaborative research, production and design teams are required. Successful completion of midterm and final project requirements and reviews is required and no make-up or postponed project submissions will be accepted except in the case of unforeseen circumstances and emergencies. Excused absences and project delays must be officially cleared by professors in advance, in order to be considered valid.

Studio Requirements During the project development phase of the semester, students will be required to engage in the grand collaborative tradition of the artist/architect studio culture; Students will work in teams of 2-3 to engage in the multiple tasks or research and project development.

Final Requirements Process notebook including research, sketches, collage development and assembly and project team organization outlines, schedules, instructions and communications Site Plan Site Section with context Site Elevations(with site elevations) Plans, Ground Plan & Roof with context Project Longitudinal and Cross Sections Project Elevations Project Plans Group Site Model Project Model Site and Model photomontages or Digital Models, walkthroughs & perspectives CD/DVD documentation of all drawings, models, notebook studies Semester notebook

Tools: Laptop complete w/autocadd, photoshop, illustrator, sketch-up(provided by instructor) & 3d studio max Digital Camera Sketchbook (8.5”x11”-11”x17”) hardbound Pencil, Pilot Razor point markers, 8.5”x11” paper Compact disc, dvd, floppy discs, (pen driver/memory stick) Utility and exacto knives and blades Glue, masking and transparent tape Paper and cardboard for modeling

Bibliography: Required: 1 Fred Biehle , Legacy of Roman Form ARCH 420 Reader, volumes I & II 2 Firkut Yegul Baths and Bathing in Classical Antiquity 3 Legacy of Roman form notebook

Highly Recommended: 1 William Macdonald – The Pantheon: Design, Meaning & Progeny 2 Gianfranco Ruggieri - Guide to the Pantheon (available @ the Pantheon) 3 William Macdonald – Hadrian’s Villa and Its Legacy (in studio library) 4 William Macdonald – Roman Imperial Architecture vols. 1& 2 (in studio library) 5 Frank Sears – Roman Architecture (in studio library) 6 J.B. Ward Perkins – Roman Imperial Architecture (in studio library) 7 Mark Wilson Jones – Principles of Roman Architecture 8 Vitrivius – The Ten Books on Architecture (in studio library) 9 Andrea Palladio – The Four Books of Architecture (in studio library) ? 10 Paul Letarouilly – Edifices de Rome Moderne (in studio library) ? 11 Christian Norberg-Schulz – Genius Loci (in studio library) 12 Blue Guide to Rome and Environs (in studio library) 13 Edmund Bacon – Design of Cities (in studio library) 14 G.B. Piranesi - Vedute di Roma 15 Ficacci – The Graphic Works of G.B. Piranesi 16 John Wilton-Healy – The Mind and Art of G.B. Piranesi 17 Amato Pietro Frutaz – Le Piante di Roma

Maps: 1 Map of Rome by Giovanni Battista Nolli (in studio library) 2 Map Roma Urbis – Imperatorum Aetate “Scagnetti” 3 Current Maps of Rome

Relevant Ancient Roman Buildings: Tholos on the Tiber, Domus Aurea, Temple Minerva Medica, Mausoleum of Augustus, Castel Sant’Angelo/Mausoleum of Hadrian Forum & Markets of Trajan Santo Stefano Rotondo, Santa Costanza Baths Agrippa, Nero, Constantine, Caracalla, Diocletian, Trajan, Titus Hadrian’s Villa -Small Baths / Large Baths / Heliocaminus Baths / Island Villa / Piazza d,Oro Pons Sublicius

Suggested: Bullfinch – Myths of Greece and Rome Sir Bannister Fletcher – A History of Architecture Sextus Julius Frontinus - De Aquis Urbis Romae Rodolfo Lanciani – Various Texts on Archaeology & Roman Aqueducts Thomas Ashby – The Aqueducts of Ancient Rome Peter J. Aicher - Guide to the Aqueducts of Ancient Rome Libation to the Gods – E.M. Winslow Charles S. Whitney - Bridges The Fountains of Rome Isola Tiberina Pons Aemilius Robert Harris – Pompeii a Novel Stambaugh – The Ancient Roman City Krautheimer – Rome Profile of a City

Renaissance Texts Wolfgang Lotz - Studies in Italian Renaissance Architecture Rudolf Wittkower - Architecture in the Age of Humanism James Ackerman - The Architecture of Michelangelo – (Sforza Chapel / St. Peter’s – relevant to design) James Ackerman – Palladio (in studio library) Arnaldo Bruschi - Bramante Eugenio Battisti -Brunelleschi (Electa) Giorgio Vasari - Life of the Artists Ross King - Brunelleschi’s Dome Ross King - Michelangelo & the Pope’s Ceiling

Important Renaissance Architects & Buildings influenced by the Pantheon Brunelleschi – (Dome of Santa Maria del Fiore relevant to design) Bramante – (St Peters / S. Pietro in Montorio-Tempietto – relevant to design) Borromini – (San Carlo alle Quattro Fontane / Sant’Ivo della Sapienza / Sta Caterian relevant to design) Bernini – (St. Andrea al Quirinale / Piazza San Pietro / belltowers of Pantheon – relevant to design) Palladio – (Villa Rotonda-Capra / Il Redentore)

Modern Buildings & Books related to or located in Rome Le Corbusier – (Firminy Vert / Ronchamp relevant to design) Giurgola/Mehta –Louis Kahn – (Exeter Library / Kimball Art Museum / Amedabad / Pakistan relevant to design) Light is the Theme – Kimball Art Museum John Lobell – Between Silence & Light (in studio library) Mario Ridolfi – Post Office Nomentano (w/Fagiolo) Pza. Bologna (1933) Pier Luigi Nervi – Palazzo dello Sport (EUR) 1958, Palazzo dello Sport (Flaminia)1959 Thomas L. Schumacher - Terragni’s Danteum Rafael Moneo – Merida Archaeological Museum in / Stadium Projects Richard Meier – The Church of the Third Millenium (Tor Tre Teste, Roma) Renzo Piano – Performing Arts Center (Via Flaminia) Zaha Hadid – Museum of Contemporary Art (Flaminia) Italo Calvino - Invisible Cities Brian McGrath -Transparent Cities Colin Rowe & Fred Koetter - Collage City

Semester Schedule: (Subject to Revision)

Week 1 - 1/24-1/28 1/24 First day of classes Sketching am / Italian & Modernism pm 1/25T First day of Design-Full day Water Walk & Pantheon visit Study Set up 1/26 W am Urban Studies / pm Italian Ponte Rotto / Isola Tiberina 1/27Th Spectacle am / 2 pm Studio session Desk crits 1/28 F Italian 10& 11 am 2:30 pm Campo Marzio tour w/ Jan Gadeyne Week 2 1/31 M Sketching & Spectacle am / Italian & Modernism pm 1/31-2/08 2/01T Full day studio session Desk crits Groundhog Day 2/02 W am Sketchg / pm Italian & Urban Studies Site Documentation Coordination 2/03Th Spectacle am / 2 pm Studio session REVIEW – PINUP Phase 1 Pantheon Photo-Maps 7pm Forum Boarium Lecture w/Jan Gadeyne 2/04 F Italian MWF 11-1 2pm Baths tour w/Jan Gadeyne Week 3 2/07 M Sketching & Spectacle am / Italian & Modernism pm 2/07-2/10 2/08T Full day studio session Desk crits Ash Wednesday 2/09 W am Sketchg / pm Italian 3pm Urban Studies Florence prep w/Jeffrey Blanchard 2/10Th Spectacle am / 2 pm Studio session Desk crits 2/11 F Florence Field Trip Departure 2/13 Su Return to Rome Week 4 Valentine 2/14 M Sketching & Spectacle am / Italian & Modernism pm 2/14-2/20 2/15T Full day studio session Desk crits 2/16 W am Sketchg / pm Italian & Urban Studies 2/17Th 12 pm Studio session REVIEW – PINUP Phase 2 Section / Sequence Drawings 2/18 F Italian 10 & 11 am 2/19 S 8am Hadrian’s Villa and Palestrian trip w/Jan Gadeyne Week 5 2/21 M Spectacle am / Italian & Modernism pm 2/21-2/25 2/22T Full day studio session Desk crits 2/23 W am Sketchg / pm Italian & Urban Studies 2/24 Th Spectacle am / 2 pm Studio session Desk crits 2/25 F Italian 10 & 11 am 2/26 S 8am Ostia Antica trip w/Jan Gadeyne Week 6 2/28 M Spectacle am / Italian & Modernism pm 2/28-3/05 3/01T Full day session REVIEW – PINUP 2/28-3/04 Phase 3 Module / Sequence Models / Photos (Caleb Crawford visiting critic) 3/02W am Sketchg / pm Italian & Urban Studies 3/03Th Spectacle am / *2pm Studio session Desk crits (Caleb Crawford visiting critic)??? 5pm MIDTERM ROME AS SPECTACLE 3/04 F Southern Field Trip Departure w/ Jan Gadeyne in Pompeii / Paestum? Week 7 3/07 M On Site Studio & Urban Studies Project Discussions 3/07-3/11 3/10 Th On Site Studio & Urban Studies Project Discussions 3/11 F Southern Field Trip Return – Spring Break Begins 3/12 SaSpring Break = No Class Week 8 3/14 M Spring Break = No Class All Week Spring Break Week Week 9 Palms 3/20Su Students must be back from Spring Break by 9 pm! 3/21-3/26 3/21M Spectacle am / Italian & Modernism pm 3/22T Full day studio session Desk crits 6:30pm Early Christian Arch Lecture w/Jan Gadeyne 3/23 W am Sketchg / pm Italian & Urban Studies 3/24Th Spectacle am / 2pm Studio session Desk crits Good Friday 3/25 Fr Italian 10 & 11 am Week 10 Easter 3/27 Sunday Pasquetta 3/28 M NO CLASSES 3/28-4/02 3/29T Full day studio session Desk crits 3/30 W am Sketchg / pm Italian & Urban Studies 3/31Th Full day studio session REVIEW – PINUP Site Strategies/Parti Models 4/01 F Italian 10 & 11 am Week 11 4/04 M Sketching am / Italian & Modernism pm 4/04-4/09 4/05T Full day studio session Desk crits 4/06 W am Sketchg / pm Italian & Urban Studies 4/07Th Spectacle am / 2pm Studio session REVIEW – PINUP Project Pattern Studies 4/08 F Italian 10 & 11 am 2:30pm Late Antiq & Medieval Lecture w/Jan Gadeyne 4/09 S Northern Field Trip Departure Week 12 4/11 M On Site Studio & Urban Studies Project Discussions All Week 4/11-4/16 4/16 S Return to Rome Week 13 4/18 M Spectacle am / Italian & Modernism pm 4/18-4/23 4/19T Full day studio session Desk crits 4/20W Spectacle am / pm Italian & Urban Studies S. Andrea Quir/S. Maria d Pace/S. Ignazio Piazze 4/21Th Full day studio session Desk crits 4/22 F Italian 10 & 11 am Week 14 4/25 M Spectacle am / Italian & Modernism pm 4/25-4/30 54/26T Full day studio session Desk crits 4/27W am Sketchg / pm Italian & Urban Studies 4/28Th Spectacle am / 2pm Studio session REVIEW – PINUP 4/29 F Italian 10 & 11 am Week 15 5/01M FINAL ROME AS SPECTACLE / Modernism pm 5/01-5/08 5/02T Working Session & Pinup for Final Review 5/03W am Sketchg 5/05Th Pm Studio session Project Discussion 5/06 F Working Session Week 16 5/09M Working Session 5/09- 5/14 5/10T Working Session & Pinup for Final Review 5/11W Final Review 5/12Th Pin Up Day 5/13F Year End Exhibition 5/14 S Final Group Dinner 5/15 Su Early Departures Week 15 5/21 S Final Departures