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Libera Università delle Arti, L.UN.A., Free University of the Arts, is a strongly evoking acronym, which in Italian means “moon”.
Indeed ‘Luna’ corresponds to the word which once described the city of Bologna: the Medieval city was originally surrounded by a wall made of Selenite stone. As wayfarers approached from the planes, their first glimpse of Bologna was a luminous curved moon-shape, given off by the glow of the Selenite.
Springing from a team of great didactic and professional experience,
L.UN.A’s partnership with a selected pool of high profile companies specially chosen for the promotion of L.UN.A’s research, aids in the discovery of new and specialized formative routes in education and creation.
L.UN.A. represents the will of forming new and creative perspectives in the project sectors of design, fashion design and communication. Sprouting from the desire to find quality in the professional figures today, to avoiding the onset of “creative fatigue”, as well as understanding the new innovations in the arts.
HOW L.UN.A. EXPRESSES ITSELF
L.UN.A. offers an education of the highest quality thanks to the instruments and resources that are at our disposal.
L.UN.A will create a formative plan, individually dedicated to the professional desires and needs of each student who enters the program.
Each student in conjunction with L.UN.A’s professors will work together during the orientation interviews to plan and propose a formative educational program. The direction of growth that each student chooses to pursue is mapped out and specified from the very start of each student’s educational journey.
L.UN.A measures its prestige with the excellence of our professors in combination with research dedicated to developing new and inventive styles of education. The formative objectives are solidified through three typologies of didactic modules:
great contributions from highly experienced guest speakers, in an ex cathedra-style lessons;
famous designers with great didactic experiences in the project and workshop LAB lessons, and professors with a strong humanistic culture in the TEC labs for the instruction of the service software.
Students are able to not only take away the essential lessons learned through internship experiences and ties made with companies, but are able also to integrate various workshop utilities such as languages, computer science, portfolio, and identity studies into their work.
Additionally, L.UN.A. offers areas for personal research through the integration of “after-hours”: evening meetings on campus to promote experiences and dialogue between designers, producers and consumers. Through parties and continuous exhibitions showing the students’ project works such as prototypes, master planning of marketing strategies, fashion collections, 3d designs, web sites, graphics, the students are able to integrate themselves into the professional world.
Finally, merited students have scholarships at their disposition that cover the whole formative period as well as student loans covering tuition fees (returned with a minimum interest rate once professional career has started).
Walking down via D'Azeglio, you suddenly come across a noble palace commissioned by Nicolò Sanuti in 1477, whose architectural paternity is still not solved. An architectural presence which is absolutely extraordinary for Bologna, not only for its artistic quality, but also for its foreign identity: a building whose façade already proves the belonging to the innovative wind represented by the Tuscan Renaissance, quite unusual for Bologna. It is in fact an ashlar of extraordinary quality embellished by splendid mullioned two-lighted windows richly decorated, below very modern squares of great architectural breath. The basis is solved with elegance by an extrusion that conveys plasticity to the entire façade and also offers a function of sitting, thus suggesting a sort of synonymy with the public, a welcoming which is different from the typical Bolognese one given by the famous porticos. At the façade, beyond other precious elements such as the balcony in wrought iron, of great manufacture, two portals can be found, one is the entrance to the present Libera Università delle Arti, the other leads to the interior of the first courtyard.
The beautiful courtyard is a jewel of the Bentivoglio architecture re-echoing the portico of S. Giacomo Maggiore and presents capitals and columns worked by Tommaso Filippi da Varignana and embellishments in brickwork similar to the ones of the portico of the Eremitani attributed to Sperandio. On the superior colonnade a pictorial frieze, probably of Amico Aspertini, while the visible one going up to the first floor, inside the open arcade, is the result of a re-elaboration of Achille Casanova during the restoration works conducted by Alfonso Rubbiani between 1907 and 1908. In the middle of the courtyard an unusual and enigmatic basin can be found, also belonging to the XV century, coming from a palace in Ferrara and moved to Bologna in the XIX century. Also the marble walled-up windows in a part of the portico that came from Ferrara.
Going on in the courtyard there is the passage to a second courtyard, result of an extension commissioned by the Cardinal Lorenzo Campeggi, probably on the basis of the drawing of Galeazzo Alessi. In 1547, in the round-floor hall, the meetings of the Council of Trent took place. They moved to Bologna to escape the plague spreading in the initial location of the Council.
With the extinction of the Campeggi family in 1727, the palace was inherited by the Malvezzis then later by the Vincenzis from Ferrara. Finally, in 1727, it was assigned by will to the Bevilacqua Marquesas, who are still the owners of the palace.
