Meeting Points for Learning: Terragni and Rossi

Springer Series in Design and Innovation 23 Manuel A. Ródenas-López José Calvo-López Macarena Salcedo-Galera Editors Architectural Graphics Volume 3 - Graphics for Education and Thought Springer Series in Design and Innovation Volume 23 Editor-in-Chief Francesca Tosi, University of Florence, Florence, Italy Series Editors Claudio Germak, Politecnico di Torino, Turin, Italy Francesco Zurlo, Politecnico di Milano, Milan, Italy Zhi Jinyi, Southwest Jiaotong University, Chengdu, China Marilaine Pozzatti Amadori, Universidade Federal de Santa Maria, Santa Maria, Rio Grande do Sul, Brazil Maurizio Caon , University of Applied Sciences and Arts, Fribourg, Switzerland Springer Series in Design and Innovation (SSDI) publishes books on innovation and the latest developments in the fields of Product Design, Interior Design and Communication Design, with particular emphasis on technological and formal innovation, and on the application of digital technologies and new materials. 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Ródenas-López • JoséCalvo-López •Macarena Salcedo-Galera Editors Architectural Graphics Volume 3 - Graphics for Education and Thought 123 Editors Manuel A. Ródenas-López Architecture and Building Technology Polytechnic University of Cartagena Cartagena, Spain Macarena Salcedo-Galera Architecture and Building Technology Polytechnic University of Cartagena Cartagena, Spain JoséCalvo-López Architecture and Building Technology Polytechnic University of Cartagena Cartagena, Spain ISSN 2661-8184 ISSN 2661-8192 (electronic) Springer Series in Design and Innovation ISBN 978-3-031-04639-1 ISBN 978-3-031-04640-7 (eBook) https://doi.org/10.1007/978-3-031-04640-7 ©The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG 2022 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, expressed or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. This Springer imprint is published by the registered company Springer Nature Switzerland AG The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland Contents Education A New Evaluation for a New Teaching Normality: Practical Example Applied to the Topographic Map System ........................ 3 Víctor Antonio Lafuente Sánchez, Daniel López Bragado, Sergio Alonso Alonso, and Antonio Álvaro Tordesillas Álvaro Siza Vieira Malagueira’s Notebooks: A Reading on the Relevance of Drawing for Architectural Research ............ 13 Pedro Guilherme and Sofia Salema Architectural Graphic Expression of Heritage in the Academic Training of Architects. The Exhibition of the Drawings ............. 22 María del Carmen Vílchez Lara and Jorge Gabriel Molinero Sánchez Comparative Analysis of AutoCAD Screencasts Applied to Technical Drawing for Online Teaching ................................. 32 Juliane Silva de Almeida and Nicole Santini Baratto Covid-19 and Online Teaching: Impact on Academic Results in the Subjects of Architectural Graphic Expression at the Polytechnic University of Cartagena ...................... 42 Pedro M. Jimenez-Vicario, David Navarro-Moreno, María Mestre-Martí, Pedro García-Martínez, Manuel A. Ródenas-López, and María JoséMuñoz-Mora Draw (with) the World: Embracing Minor Contents Between the Disciplinary and the Contemporary ......................... 51 Jose Carrasco Hortal Drawing Places: New Strategies for Teaching Architects to Sketch .... 61 Sebastian Harris ix Ecology and Cos (i) Mopolitics in the Drawing Room: The Lines that Expand the Limits of Architecture ............................. 71 Ángela Ruiz Plaza, Atxu Amann y Alcocer, and Eduardo Roig Segovia Etching –Seamless Alignment of Lines and Patches as Role Model for a Graphic Geometry as Design Crossover of Pixels and Vectors in the Direction of All-In-One Image Reliefs ..................... 79 Niels-Christian Fritsche Exploration Models as Creative Triggers to Conceptualize Architecture ................................ 87 Mónica Gómez Zepeda and Juan Carlos Ortiz Tabarez How to Break Down Drawing Pedagogies by Decoding Disciplines on a Classic Board ......................................... 98 Eduardo Roig, Atxu Amann, and Ángela Ruiz Implementing BIM in Architectural Graphic Expression Subjects in the First-Degree Courses .................................. 107 JoséJavier Pérez, María Senderos, and Iñigo Leon Inside the Dark Camera: Covid-19 Home Confinement as a Phenomenological Learning Experience Based on Observation ... 115 Ángel Allepuz Pedreño, Jorge Domingo Gresa, and Pablo J. Juan Lapis Resiliency, through Analogic and Digital Drawing ............ 126 Leserri Massimo, Morena Sara, and Antinozzi Sara Meeting Points for Learning: Terragni and Rossi ................. 137 María del Carmen Vílchez Lara Teaching the Graphic in Times of Pandemic. Cape Cod and the Bauhaus .......................................... 147 Jorge Gabriel Molinero Sánchez and Juan Francisco García Nofuentes The Creative Capacity of Geometric Objects -point and linein Architecture Teaching ............................. 157 Fernando Manuel Alonso Pedrero and María del Pilar Salazar Lozano The Model as a Teaching Experience: The Case of Frank Lloyd Wright’s Unitarian Church (1905–1908) ........................ 167 Marta Úbeda Blanco, Daniel Villalobos Alonso, and Sara Pérez Barreiro The Sketching Club as a Didactic Strategy ...................... 178 Francisco Xabier Goñi Castañón and Inmaculada Jiménez Caballero x Contents Thought Analog Drawing –Digital Drawing. The Architectural Virtual Model as More Than a Technological Implementation ................... 191 Javier Fco. Raposo Grau, María Asunción Salgado de la Rosa, Belén Butragueño Diaz-Guerra, and Blanca Raposo Sánchez Architecture, Light and Sequence for Falla’s Puppet Show .......... 201 María Teresa GarcíaSánchez Ariadne’s Thread. Lines Towards Architectural Project ............ 212 Maria Pompeiana Iarossi, Daniela Oreni, and Daniele Giovanni Papi Codifying, Envisioning, and Ideating Through Data on Information Based Designs ............................................. 223 Carlos L. Marcos and Ángel J. Fernández-Álvarez Critique of the Architectural Competition Stimulated by Graphic Expression: Semiotic Convergences in the Rhetoric of Judgment Process........................................ 233 AsunciónDíaz-García Design by Hand in a Digital Environment. Drawing Storytelling and ICT Development ...................................... 243 Juan Saumell, Francesca Fatta, and Mario Docci Drawing in Siena: The Architect’s Learning ..................... 253 Clara Maestre-Galindo Fernando Higueras, Expansive Geometries through Models ......... 261 Noelia Cervero Sánchez Five Keystones Vaults Parametric Model Generation from Point Cloud Data ............................................... 271 Mara Capone, Daniela Palomba, and Emanuela Lanzara Flatwriter Today. Towards Friedman’s Utopia Through Generative Design ......................................... 281 Ana Sánchez-Pérez, Manuel A. Ródenas-López, and Martino Peña Fernandez-Serrano Flexibility of cGANs to Encode Architecture Isometrics in Colour Patterns ......................................... 292 Diego Navarro-Mateu, Oriol Carrasco, and Pedro Cortés Nieves Fragment, Overlap and Time. Carlo Scarpa’s Graphic Memory ...... 302 Lucía Balboa Domínguez, Alberto Grijalba Bengoetxea, and Noelia Galván Desvaux Contents xi Graphic Analysis of the Patents and Utility Models Registered by Spanish Architects Between 1950 and 1970 .................... 312 Fátima Sarasola Rubio Pedagogy of Practical Learning in the Architectural Ideation and Communication ........................................ 322 Angelique Trachana and Juan Carlos González Ortiz Perception and Phenomenology of Light and Colour in the Architecture of Luis Barragán........................... 333 Luis Navarro Jover and Carlos L. Marcos Alba Postermania.Taller de Arquitectura and the Poster as Manifiesto ...... 342 Raquel Álvarez Arce, Álvaro Moral García, and Noelia Galván Desvaux Telling for Images. The “Court of Lights”of Piazza Scaravilli in Bologna ............................................... 352 Cristiana Bartolomei, Cecilia Mazzoli, and Caterina Morganti The Discursive Construction in OMA’s Exhibitions ................ 362 Javier Rodríguez García and Angelique Trachana The Experiential Time in the Drawing of Enric Miralles ............ 373 Humildad Santiago Pedraza and Angelique Trachana The Random Machine. Graphic Representation Based on Mechanical Repetition .................................... 384 Carlos Campos and Alessandra Cirafici Traditional and Innovative Tools of Planning Thought. The Project of Town Hall in Sesto San Giovanni by Piero Bottoni .............. 394 Maria Pompeiana Iarossi and Cecilia Santacroce Where Do We Step? The Horizon is on the Ladder: Landscapes that Lina Bo Bardi Created in Her Drawings .................... 404 Mara Sánchez-Llorens and Fermina Garrido Author Index................................................ 415 xii Contents Rossi presented Cuneo's project in 1962, together with Gian Ugo Polesello and Luca Meda. It is a cubic work measuring 12 m on a side, which attends to the place while trying to evoke the memory of the feeling of refuge and effort of the Italian combatants in the Second World War [9]. The staircase, which is compressed in the ritual of ascent into the interior of the cube, reaches a horizontal platform from which it directs the gaze to the mountains of Boves, where the partisan groups fought in their Resistance to the Nazi occupation. The section of the monument, a staircase that ends in an elongated window like a fissure that looks out into the landscape, will be repeated by Rossi in other works such as the Sandro Pertini monument in Milan, built between 1988–1989. The staircase is conceived by Rossi more for its semantic than formal value, by giving it a powerful meaning in its architecture. The cube, as an ideal architectural form [10], will be used again by Rossi, after the project of the monument to the Resistance, in the Modena cemetery, built between 1971–1978, in the Teatro del Mondo, ephemeral architecture presented for the 1979 Venice Biennale, or in the aforementioned monument to Sandro Pertini. Rossi's analogous thought in which history is remembered through the objects of affection (oggetti d’affezione) that memory makes use of [11] is discovered in this project. Rossi shows us the myth of the partisans’refuge, recreating one of the caves in his cube through the spatial organization and tour of the monument. The commemoration of history thanks to a monument that allows us to understand the past is what gives it its own status as a monument [12]. Fig. 5. Conical perspective of the Partigliani monument, in Segrate (EGA 1 student: López, P., 2020). 142 M. C. Vílchez Lara The monumental fountain in the Plaza de Segrate is one of the most representative monuments to memory of Aldo Rossi's architecture (Fig. 5). It is present in numerous publications, exhibitions and compositions made by this Italian theorist and great thinker, such as, in the painting of Arduino Cantafora entitled Analogue City, which chaired the Architecture Section of the XV Triennial [13]. Designed in 1965, it has recently been restored by one of his disciples and collaborators, Gianni Braghieri [14]. The square, equipped with some steps, appears as an almost empty space delimited by a wall with few openings, vestiges of columns emerging from the ground and the fountain. This is made up of simple juxtaposed volumes: a parallelepiped that lodges the staircase, a cylinder and a triangular prism, like a tympanum, through which the water circulates before being poured into an elongated line of water. Even though it is a minor work, it is capable of explaining the poetics of the architecture of Rossi with special expressiveness, through “a dense and voluntary combination of Greek simplicity, neo-enlightened exaltation, metaphysical plastic sentiment and Corbusian adhesion”[15] (p. 533). Rossi himself would recognize the existence of an upward movement in the whole of the square, projected as a podium, theater, a public place par excellence, at the same time that he justified the appearance of the tympanum –the triangle–as “a form very pure derived from classical architecture such as the column element”[16] (p. 13). Peter Eisenman will introduce Rossi to the American public as the creator of a deep imaginary and will choose as the back cover of his book “Aldo Rossi in America: 1976 to 1979”a sketch by Rossi of the Segrate monument fountain, located at a closeup [17]. Ernesto Nathan Rogers, director of the Domus and Casabella magazines, exerted a great influence on architects such as Aldo Rossi with his intense theoretical corpus around the essential role of historical consciousness in architecture and the recovery of tradition for the progress of culture [18]. Aldo Rossi was part of the group of young architecture students at the Milan Polytechnic, since the mid-1950s, which would be known as the “Giovani delle colonne”[19], in their commitment to realism and historical tradition as opposed to rationalism and functionalism of the Movimiento di Studi per l'Architettura, defended by Giancarlo De Carlo as a continuity of the first Italian Modern Movement. The innovation and reinterpretation of the historical tradition with forms and typologies of the past, such as arches and columns, are closely linked with the collective memory and the place. 4 Results and Conclusions The monographic works resulted in products obtained from the self-learning of the students, supervised by their teacher: a series of drawings and collages in A3 format, in addition to the physical models of the studied referents, in which the materiality and the scale of the monument referenced with respect to the human scale. These monographs or case studies are the practical and direct application of the theory taught in the subject: the block of the Dihedral System, which includes problems or research exercises, documentation, analysis, 2D views, changes of plane and composition; orthogonal and oblique Axonometries; Conical Perspectives; and, Shadows. Meeting Points for Learning: Terragni and Rossi 143 Fig. 6. Dihedral views of the penultimate version of the monument to Roberto Sarfatti (EGA 1 student: González, R., 2019). Fig. 7. Dihedral views of the penultimate version of the monument to Roberto Sarfatti (EGA 1 student: Abdul, M., 2019). 144 M. C. Vílchez Lara The practices developed in the monographic works achieved not only that the students learned the fundamentals of the different representation systems and the graphic codes that are used in architectural graphic expression, but we were able to observe that as the students were able to control what basic, they were paying attention to the rest of the contents and they began to make the research work and the proposed graphic experience totally their own, unique and personal (Fig. 6, Fig. 7). With the presentation and correction of the works in the face-to-face sessions carried out in the classroom, the students learned to develop constructive critical thinking in addition to being aware of the ways in which a work can be read and have a special meaning within the graphic signifier that shows. These two academic years that we have worked monuments to memory with EGA 1 students, projected by Terragni and Rossi, have allowed us to discover a series of meeting points between these two Italian architects, belonging to different eras and political ideologies. Among them we stand out: –the monument linked to the feeling of collective memory and of the place, –interest in the past, –the use of stone as the most suitable material to express the monumentality and relationship with the land, –the use of abstract and round geometries, with perfect symmetries, –the sculpted staircase as a powerful compositional element that elevates the body and the gaze, the incidence of light and shadows generated by the architecture of the monument (Fig. 8). Regarding the perception of the subject by students, we conclude that the linking of the learning of geometric shapes and representation systems to such significant architectural references, constitutes a motivating element that breaks with the abstract isolation of the old Descriptive Geometry subject, of which comes from EGA 1, while enhancing interaction with other disciplines of the degree in Architecture, such as History of Architecture and Architectural Composition. The interest in the search for pedagogical and motivating exercises for the teaching of Descriptive Geometry, using recognizable architectures and making the student feel the owner of his learning, has recently been evidenced by authors such as Álvaro, Alonso and Galván[20]. Fig. 8. Axonometries with shadows of the monument by Terragni (Left. Student: Parra, A., 2019) and of the monument by Rossi (Right. Student: López, P., 2020). Meeting Points for Learning: Terragni and Rossi 145 References 1. 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