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Pratt Institute School of Architecture Undergraduate Spring Rome

Pratt Institute School of Architecture Undergraduate Spring Rome

Pratt Institute School of Architecture, Undergraduate Spring Program

Arch 400i-402 Advanced Design

Course Syllabus

Class Credits: 5 Type of Course: Required Studio – Honor’s Program Class Meetings & Location: T/TH 9AM-1PM & TH 2-6 PM Pratt Studio @ Santa Maria in Prerequisites: Arch 301/ 302 or equivalent with at least a grade of “C” & Roman Form ARCH 420 – Honor’s Program Review Enrollment Capacity: 34 (2 sections of 17) Instructor’s Names: Anthony [email protected] / Marc Schautt- [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 acretive 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, both 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 five 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, and, negligibility- quickly erasable and replaceable buildings, displaced 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 universal and figural space and develop strategies for researching, formulating a position, conceptualizing and proposing interventions that deal with this dichotomy 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 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 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:

A Architectural Research Basilica / Palazzo / Piazza building types & programs

B Urban Research in the context of the urban plan of Rome

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 and adaptation.

The basilica building type, adapted by the Romans from greek prototypes along the agora, were first used as law courts and commercial centers. Later the building types were adapted to ceremonial and religious gathering and subsequently were transformed into the familiar Christian basilica. The Palazzo, which takes its name from the where the emperors of early Rome dwelled, was for a long time employed as a residential building type, an adaptation of the Roman domus. Later, during and following the Renaissance, public functions were also incorporated into the palazzo, which eventually symbolized large 3 or more storied buildings with both public functions and status, while still incorporating residential wings or zones. The piazza, the urban exterior public space which pervades and characterizes Rome’s urban plan, with its roots in the , 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 Via Giulia, itself a narrative link between the Sisto and Castel Sant’Angelo, developed by Bramante and commissioned by Julius II.

Drawing & Collage The applied arts are inherently charged with a frequently irreconcilable dialectic between form and function, theory and practice, idea and material. In theory, the tabula rasa is an idealized context where anything is possible and the context is mute. In practice, the built environment is not a blank slate but a minefield of conditions, constraints and paradoxes to be accepted, identified, embraced and evaluated. This context of Rome’s palimpsest provides fertile ground for critical analysis, creative thinking and making and inventive problem solving. Within this context, the conceptual and creative dialogue inherent in the design process requires designers to define, accept or reject specific conditions or positions in order to develop a working method.

Since the Renaissance, drawing has been employed as a tool for thinking. This tradition within architecture connects the various disciplines that have informed each other and manifested technical, visual, spatial and representational inventions in seeing, thinking and making architectural works. The nature of the architectural manifestation that is Rome requires a total emersion into drawing in order to fully comprehend its spatial lessons.

Architectural space denotes a volume whose physical boundaries can be perceived. The perception of space is dependent on principles, which can relate and integrate different perceptual fragments into coherent whole. With the advent of cubism almost a century ago, Picasso and Braque, and subsequent pioneers in the arts, developed a way of representing simultaneous spatial conditions. The collage strategies of cubism, which questioned the classical relationship of the part to the whole, have lent themselves to the reading and reevaluation of Rome’s urban and architectural ruptures and continuities and the underlying structure of fragmentation. Further, the cinematic and digital realms have developed graphic and editing programs(including the one this syllabus was written in) which facilitate collage cut and paste strategies analogous and related to cubist collage.

The studio will challenge students to develop drawing and collage strategies to study and interpret the existing conditions in the Roman cityscape as well as to speculate and invent relevant architectural proposals for the city that seek to address the issues inherent in the vestiges of its fragmentation and assemblage. Drawing & Collage provide the means of establishing a understanding of a language of space & tectonics, a kit of parts for unpacking, reading, interpreting and ultimately proposing, integrating and synthesizing new ideas within the city fabric. Students will be asked to consider ways of disassembling urban and architectural information through the filter of drawing using the art historical method of comparison and contrast to identify and distinguish specific categories, qualities and formal characteristics of architectural models:

Investigation A - Basilica / Palazzo / Piazza Phase 1 Identify and isolate/separate categories of material, geometric, spatial, figural and typographic components as a kit of parts within the plans, sections and elevations of the basilica / palazzo / piazza chosen considering the following(teams will be assigned on the first of studio):

Basilicas: Palazzi: Piazze: Emilia Venezia Sant’Eustachio Julia della Cancelleria di Pietra Ulpia Caprini (house of Rafael) Sant’Ignazio of Neptune (behind Pantheon) Branconi dell’Aquila di Caffarelli-Vidoni S. Calisto Maxentius/Constantine Maccarani da Renzi Liberiana / S. Maria Maggiore Leroy Campo dei Fiori Sessoriana / S. Croce in Gerusalemme Massimo (& Braschi) Il Campidoglio S. Valentino Farnese Farnese Constantiniana / S. Giovanni Laterano S. Spada della Cancelleria Sebastiano Palatine: della Rotonda S. Pietro Domus Tiberiana Portico of Octavia S. Paolo fuori le Mura Domus Flavia di Capo di Ferro S. Agnes Navona S. Sabina Augusto Imperatore S. Maria in Cosmedin House of Livia Largo degli Schiavone S. Maria della Pace Barberini in Piscinula S. Pietro in Montorio Capitoline

Identify figural/spatial zones through graphic means of cut, paste, delamination and layering in plan/section/elevation: 1 figure ground = the contour division between solid & void 2 individuation of spaces / spatial units, modular/components - parts/figures 3 center/axial relationships = axes / axis – directional line providing order and organization regulating lines (grid/field) cardo decumanus (nsew grid) geometry skeletons points lines planes proportional relationsips axes, boundaries, centerlines, edges literal & implied grids 4 projected/juxtaposed figures = i.e. space(s) vs path(s) 5 assemblage of component parts layering = plan and elevation receding spatial layers / frontal limits of the façade / façade resulting from ext-int pressure sedimented = layers, superimposition - plan(inside to outside) & section( strata / layers / levels) overlap zones = intersectional spaces / interdependence / interlocking / transparency sectional = sectional idea - building to landscape / earth to sky / inside to outside primary, secondary, tertiary spaces erasures-voids/ interruptions / missing or implied linkages architectural elements - ground / floor / wall / columns / roof / arch / vault component groups - building scale / room scale / architectural elements typography = graphic and tectonic elements and potential in drawings Due Tuesday, February 10, 2004

Phase 2 Use the process of identification, categorization, isolation and comparison of separate component/drawings/layers to clarify a relational strategy that can be employed to renegotiate an adaptive assembly collage strategy. Create a series of plan / section / elevation transformational assemblies / collages of elements and layers resulting from the analytical disassemblies. These collage/assemblies will form the basis of the semester long project & individual strategies for design. Due Tuesday, February 2, 2004

Investigation B Via Giulia Via Giulia The kilometer long street laid out under Pope Julius II by DonatoBramante: “ Bramante’s interest in town planning had already found expression in Rome, after 1506-07, in actual large-scale works within the medieval city, carried out between 1508 and 1512, which were necessary to Julius (who gave tax concessions on 20 December 1507 to those who proposed to build) as an instrumentum regni. He seems to have intended not so much to promulgate the imperial myth as, in a more realistically political way, to break up the medieval social fabric of the city (small areas controlled by particular baronial families) by breaking up the old network of buildings, and by establishing rapid communication between them and the headquarters in the Vatican. He needed wide, straight streets - for keeping the coaches, , crowds of pilgrims, an troops moving; for striking promptly at disorders in the turbulent working-class districts around Campo de’ Fiori and in the area of the future ghetto, in Trastevere and the port of Ripa; for ensuring that the Vatican could be safely provisioned form across the ; and for aiding the influx of pilgrims to St Peter’s. The works would also bring healthier conditions and all kinds of social benefits to the districts along the Tiber; and finally they would give the capital city of the ‘empire’ a new urban dimension and a new dignity.” Arnaldo Bruschi, “Bramante”

Student collaborative teams will document the 12 sections of Via Giulia:

Section A / Fontana Virgine / Section B / adjacent fountain(Il Mascherone) / Wall Section C Palazzo Falconieri (Borromini enlarged) / S. Maria delle Orazione e Morte, F. Fuga 1733-37 Section D S. Eligio degli Orefice, Rafael cupola by Peruzzi / Palazzo Varese, Maderno 1617 / Palazzo Spignolo / S. Caterina dei Sinesi P. Posi 1766 Section E Palazzo Ricci (painted façade by Polidorro da Carvaggio) / S. Spirito dei Napoletani, O. Mascherino 1619, C. Fontana, A. Cipolla façade 19 c. Section F Piazza Perosi demolition from 1940 / Ponte Mazzini / S. Filipo Neri, F. Raguzzini Section G Carcere Nuove Ant, Del Grande 1655 / Carcere, Valadier 1827 / Dome of S. Lucia del Gonfalone Section H Palazzo del Tribunale, Bramante(unfinished) / Oratorio di S. Lucia del Gonfalone, Rainaldi / S. Maria del Suffragio, Rainaldi Section I Palazzo Sachetti, Sangallo 1543 Section J Palazzo Sangallo-Medici, Sangallo Section L S. Giovanni in Fiorentino, Sansovino, Maderno cupola transept, Della Porta /

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 Contingent or projected discussions based on each section

Project Description: Site: Piazza Perosi “From Imperial times until the present day the city of Rome has been understood as a destination, rather than just Another stop along ones journey. The Vatican, the seat of the , has form early Christian times been the sponsor to a religious pilgrimage that centered on its sacred sites. Interrupting this network, the ancient city has always remained evident, preserved in a sometimes ordered, sometimes seemingly indeterminate landscape, its architectural fragments capable of evoking the simultaneous ideal of a culture lost within a culture present.”

“The contemporary visitor to Rome inevitably finds him/herself in a place that is foreign yet familiar, profound and at the same time contradictory. It is an experience that affirms and confronts Cartesian assumptions. It is an Experience that might require the ingenuity of a Daedalus to disentangle, to understand, and to remember the way.” Fred Biehle

The Via Giulia a newly furrowed 16th century urban cut, along with the (set closely along the lines of the ancient Roman Via Settimiana) was intended to create a circuit of streets parallel to the Tiber, between the Vatican and the Ponte Sisto and between the Porta Settimiana and the Vatican in Trastevere. These paired urban arteries cut through the congested medieval fabric of buildings along the river opening new approaches to the Vatican, previously only accessible by the crossing of the Ponte Sant’Angelo. Plans prepared by Bramante for the new urban structure as well as a rather imposing structure, the Tribunale, a series of law courts(basilicas) located at the center of the Via Giulia were only partially completed.

Today, the rather serene streetscape is lined with antiquarian shops, and the looming “spalle” of Palazzo Farnese (housing the French Embassy,” the most magnificent Renaissance Palazzo in Rome”) the Palazzo Spada, (seat of the Council of State since 1889) the Palazzo Falconieri, (housing the Hungarian Academy) the Palazzo Varese (designed by ), along with structures housing, governmental offices, and, a number of Christian churches, like the Oratotorio dei Filippini & convent( by Borromini) the Sant’ Eligio dei Orefici, (planned by Raffael and completed by Baldassare Peruzzi) and San Giovanni dei Fiorentini (whose competition entry won Iacopo Sansovino the commission for the church, subsequently completed by Sangallo the younger, della Porta and Maderno).

Within the rich mosaic of prominent works situated along the elegant length of the Via Giulia sits the Piazza Perosi which opens the via Giulia up to the Tiber with access across the Ponte Mazzini on axis with the Carcere Nuove( new prison structures by Antonio del Grande, once considered a model prison), as well as Valadier’s Carcere (which houses the Museo Criminale). The Piazza is the only remaining void along the Via Giulia, resulting from a 1940’s building demolition.

Institute for International Urban Studies With the demolition of the and the construction of Richard Meier’s new proposal, a new spirit of renewal of the historic center and a building program that encourages the reinvigoration of precious antiquity has found support in both the populace and government. With the advent of the events of 9/11/01, a new initiative in international urban culture has been drawn up.

Piazza Perosi has been proposed as the site for a new program - the foundations of a new Institute for International Urban Studies. The Institute is sponsored, funded and spearheaded by the Presidente del Consiglio dei Ministri, Prime Minister, Silvio Berlusconi, and an anonymous philanthropic descendant of Pope Julius II, in collaboration with Romano Pedroni, President of the European Union (Italian), Walter Veltroni, Sindaco(Mayor) di Roma, Il Ministero per I Beni Culturali e Ambientali, Cardinale Angelo Sodano, Segretario di Stato dello Stato Vaticano, and the United Nations. The Institute’s mission is to revive the cumulative study of urbanism, the history of cities and the state of urban culture. The central theme of the mission is to renew, once again, Rome’s critical cultural position by the nature of its urban heritage, cultural wealth and potential, and its international influence as a model of urbanism, dedicated to its own renewal as well as other existing European, international and future global cities.

As the first of other future centers, the IUS will function as a center of scholarship-residency, research & archiving with direct, unimpeded access to the Vatican Archives, Libraries & Museums, as well as access to all artistic, cultural and historic sites under supervision of the Italian Ministry of Culture. More importantly, the Institute will be the home of the first Urban Consultancy, providing world-class expertise, collaboration and resources to all governments, groups and individuals dedicated to the advancement of urban form and culture.

The Institute will embody and champion the ‘conscientious desire to remove the barriers of ‘museification’, ‘historicization’ and conditions of the urban morgue made from the fragments of Roman legacy’, and to instead, reconnect rather than separate the past from present use, in order to have Rome function again as a living urban organism, pointing the way to the future and new era of sustainable cities. The influence of rome upon the past and future of city form itself, retaining and renewing the cumulative urban form as laboratory for future urban models a thriving global urban culture.

The Institute’s wish is ‘to study and explore the integration, juxtaposition, even pollution of the Roman urban legacy, generously accepting the accretions of time, up to and including the present, even with all of its impurities and faults, to accept the sacrifice of a singular past for the benefit of a cumulative present and future’.

Program Brief: Programming Dualities - Multiple Programming “The intention of the program is to present several fixed and changing programmatic elements which must be conjoined into a single project-an institutional ensemble. Each part of the assemblage can individually project the character of its specific event or program, each capable of contributing to (even amending and correcting) the surrounding public realm. Collectively it/they might act as a mirror to the cumulative nature of the city’s larger context. The internal and external product of such hybridization, the nature of synthesis itself, is to determined individually by each student/ architect. The prinicipal elements are open to revision or addition.”

In the spirit of collective and cumulative integration, the project architect of the Institute for International Urban Studies in Rome, must derive the building form from the lessons of indigenous Roman architectural models, the basilica, palazzo and piazza, and make relevant adaptations germane to the program and site at hand.

Addressing the issue of growth and change, the Institute will establish a two year cycle of study for individuals related to specific disciplines. A trajectory of cumulative review and discourse will guide subsequent scholarship, research and invention. The Institute will also function as a launching pad and seed organization for individuals/groups of merit. The work of these scholar/experts will be permanently housed in the Insitutes archive and database. The Institute’s, digital and physical archives will be integrated into the larger global network of the Vatican, the EU, the United Nations and the Ministero di Beni Culturali e Ambientali, as well as Mediaset(Berlusconi’s Canale 5, Italia 1 & Rete 4).

The inaugural biennial invites 3 groups of experts/scholars in residence to construct a state of the art archive of the city of Rome which will serve as a model for expanded future archives on the Lost and Found cities of the world:

1 The Studium Urbis (director Alan Ceen, director) to establish a thorough, extensive and complete map archive and collection of the city of Rome 2 Cinecitta’ & Dreamworks (Ridley Scott, film director and team of digital experts) to establish a digital archive of the lost and existing urban and architectural works of ancient, renaissance and modern Rome, as well as a collection of an urban as represented through the history of Italian & world cinema 3 Vatican Museums (Francesco Buranelli, director of the Vatican Museums) to establish administrative liaison for access to all copyrighted images of the entire holdings to be made available to resident scholars

The student/architect will be required to explore precedents and strategies related to the inherent dichotomies in existing, discovered and invented programmatic dialectics and pluralities.

If one looks at the example of the , whose plan was laid out from descriptions of the Temple of Solomon in Jerusalem, functioning both as the Chapel of the with its outer walls acting at one time as fortress, housing soldiers on constant sentry duty for Pope Julius II and now functioning as museum/gallery and pilgrimage/tourist destination for the frescoes of . The Basilica building type itself, because of its ubiquity and open and flexible layout, has served various and subsequent functions; law courts, commercial exchange centers, religious ceremonies, pilgrimage centers, commemorative chapels and galleries. The Palazzo has mixed public and private functions as implied by the 3 story organization of ground floor, piano nobile and attic. It has also been adapted and enlarged to function to house various public institutional programs; museum, embassy, academy, hospital, apartment building.

These multiple programmatic possibilities at times present contradictory juxtapositions. They also present opportunities for spatial, programmatic, experiential, thematic and conceptual reciprocity and overlaps. The dichotomies presented in the required readings, Michelangelo and the Pope’s Ceiling, Angels & Demons & the Da Vinci Code, point to the inherent simultaneous dualities within institutions and interdisciplinary scenarios prevalent in Rome throughout its history, present and future. The students/architects are required to explore this aspect of dual programming.

The Program Three primary program elements each distinctive in their function and demands are to be conjoined, addressing the overlaps and interrelationships of existing and developing residence, archive/information center, digital studio/ display.

1 Residence Entry / Reception Courtyard Breakfast Room w/Kitchen Public Bathrooms & Showers 12-36 Private Rooms with bathroom & shower - typically these facilities are intended to provide basic necessities only Bar (with street access and courtyard access)

2 Archive / Information Center Entry / Reception Area Map Room Digital Archive Computer terminals & private digital suites Research / Administrative Offices for Studium Urbis & Vatican Galleries liaison Restrooms Map Display/Exhibition Room & Digital Projection Screen(s)/Surface(s) Digital Studio / Display

3 Digital Workshops & Studios All rooms to be connected and networked through wireless server(s) and high speed dsl lines Entry / Reception Digital Editing Suites Projection Room(s) / Surface(s) Computer exchange - pit 4-6 stations Hardware & Electrical support room(s) Broadcast Studio / Booth Digital Output spaces (for printing, memory, cd/dvd burning) Private Offices (4-6) Large Public Space for digital projection and physical display (basilica, chapels, courtyard, façade)

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 11 teams of 3 to engage in the roles of project architect, draftsperson and model builder. Each student /project architects must plan, describe, organize and coordinate their project team to execute the plans, sections elevations 3 dimensional drawings and physical models. Project teams will rotate roles of architect, draftsperson and model builder.

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(along via Giulia and other main elevations) Plans, Ground Plan & Roof with context Longitudinal and Cross Sections Elevations Group Site Model Project Model

Kit of Parts (all projects are required to consider and fully implement the following): 1 structural systems (wall, column, beam, floor, roof, arch, vault) 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).

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 is 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 professor, in advance, in order to be considered valid.

Bibliography: Required over Christmas Break prior to arriving in Roma: 1 Ross King, “Michelangelo’s & The Pope’s Ceiling” 2 Dan Brown, “Angels & Demons” or Dan Brown, “The Da Vinci Code” 3 Italo Calvino, “Invisible Cities” for Urban Studies class 4 Fred Biehle , Roman Form ARCH 420 Reader, volumes I & II Suggested: 5 Brian McGrath, “Transparent Cities” 6 Colin Rowe & Fred Koetter, “Collage City” 7 Christine Poggi, “In Defiance of Painting – Cubism, Futurism & the Invention of Collage” 8 Arnaldo Bruschi, “Bramante” 9 James Ackerman, “The Architecture of Michelangelo” 10 , “Life of the Artists” 11 Nicholas Pevsner, “A History of Building Types”

Semester Schedule: (subject to change) Week 1 1/19 First day of classes 1/20T First day of Design-Full day Via Giulia Site Research + Collage Studies Site Visit / Survey / Photography 1/22Th Pm Studio session Via Giulia Site Research + Collage Studies

Week 2 1/27T Full day session Via Giulia Site Research + Collage Studies 1/29Th Pm Studio session Building Type Analysis - Review

Week 3 2/03T Full day session Via Giulia Site Research + Collage Studies 2/05Th Pm Studio session Building Type Analysis DUE - Review

Week 4 2/10T Full day session Site Research Final Review am / Pm Studio session Collage Studies 2/12Th Pm Studio session Project Discussion – Project Program Issued

Week 5 2/17T Full day session Project Discussion 2/19Th Pm Studio session Collage Studies = Project Review 2/20 F Florence Field Trip Departure 2/22 S Return to Rome

Week 6 2/24T Full day session Project Discussion 2/26Th Pm Studio session Project Discussion = MidReview #1 2/28S Southern Field Trip Departure Week 7 3/02T On Site Studio & Urban Studies Project Discussions 3/04Th On Site Studio & Urban Studies Project Discussions 3/06S Spring Break Begins

Week 8 3/09T Spring Break = No Class 3/11Th Spring Break = No Class 3/14 Su Students must be back from Spring Break by 9 pm! Week 9 3/16T Full day session Project Discussion 3/18Th Pm Studio session Project Discussion

Week 10 3/23T Full day session Project Discussion 3/25Th Pm Studio session Project Discussion

Week 11 3/30T Full day session Project Discussion 4/01Th Pm Studio session Project Discussion 4/03S MidReview #2 4/03Su Northern Field Trip Departure Week 12 4/06T On Site Studio & Urban Studies Project Discussions 4/08Th On Site Studio & Urban Studies Project Discussions 4/12Su Return to Rome Week 13 4/13T Full day session Project Discussion 4/15Th Pm Studio session Project Discussion

Week 14 4/21T Full day session Project Discussion = MidReview #3 am 4/22Th Pm Studio session Project Discussion

Week 15 4/27W Full day session Project Discussion / Working Session 4/29F Pm Studio session Working Session

Week 16 5/5W Final Review 5/7F Year End Exhibition

Pratt Institute School of Architecture, Undergraduate Spring Rome Program

Arch 400i-402 Advanced Design

Course Syllabus

Class Credits: 5 Type of Course: Required Studio – Honor’s Program Class Meetings & Location: 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: 34 (2 sections of 17) Instructor’s Names: Anthony Caradonna - [email protected] / Marc Schautt - [email protected]

A Honor’s Program = academic contract 33 Students chosen for: 1 exemplary past record of performance in design and academics 2 evidence of potential maturity, self motivation & commitment to serious rigorous study 3 evidence of maturity and responsibility for living abroad, away from homebase, as representatives of Pratt Institute academic community and urban American culture

Group / Collaborative Contract Apartments = 6 groups of 6 individuals form a residential group, responsible for eachother & living conditions Collaborative Groups = Analysis, Research, Production, Design, Urban Studies, studio & apartment team members Team players / Family members = An intimate group of scholar / colleagues in a four mont h residency Studying, working and living in collaboration and support of curriculum goals

!!!***(not a holiday, frat party or spring break situation or culture)

Bibliography: Required over Christmas Break prior to arriving in Roma: for Design Studio class 1 Ross King, “Michelangelo’s & The Pope’s Ceiling” either or both: 2 A Dan Brown, “Angels & Demons” B Dan Brown, “The Da Vinci Code”

3 Syllabus & short reading by Bruschi on Bramante & the Via Giulia for Urban Studies class 4 Italo Calvino, “Invisible Cities”

Arrival of Professor Caradonna in Rome… January 14, 2004

Program: Dual Programming War & Religion Chapel / Gallery Sacred & Profane Temple / Church / Villa / Palazzo Art & Architecture Dormitory / Art vs. Science Secret / Headline Faith vs. Knowledge Archive / Library Public & Private Safe / Tomb Roman / Medeival / / post 20th century Monument / Buried Treasure Building & Unbuilding Encryption / Translation Cut & Paste East vs. West Mark & Erasure Avignon / Rome The Vatican Anti pop vs popes Ancient Roman Emerors / The Papacy / The Fascists & Rome / Jerusalem Futurists Rome /Constantinople Roman Empire / The Crusades / World War 2 Rome / Greece Mosaics / Collage / Parola Liberata Emperor / Pope Leonardo & Michelangelo Good / Evil The Sistine Chapel Art / Science / Philosohy / Religion / Politics / The Basilica / The Gallery Economics Opus Deum & The Priory of Sion Suppression vs. Expression The Holy Grail Old & New Testament The Sistine Chapel (temple of Solomon, fort, pope’s Politics & Business chapel) School & Secret Society (Academy vs. Interdisciplinary Programs University)

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