Artistic Project I

Category: Discipline
  • BOURGEOIS, L. (2015). Louise Bourgeois: The Spiders and the Tapestries. Ostfildern-Ruit: Hatje Cantz ELGER, D. (2000). Donald Judd Colorist. Ostfildern-Ruit: Hatje Cantz ELGER, D. (2000). Gerhard Richter: Catalogue Raisonné. Ostfildern-Ruit: Hatje Cantz FICACCI, L. (2003). PIRANESI: Acqueforti/ Grabados/ Águas-fortes. Cologne:Tascen GOETZ, I., LENCSÉS, L., SCHOR, G., VINKEN, B. 82015). Cindy Sherman. Ostfildern-Ruit: Hatje Cantz JOICE, P. (1999). Hockney on Art: conversations with Paul Joice. London: Little brown KABAKOV, I., KABAKOV, E. (2005). An Alternative History of Art: Rosenthal, Kabakoc, Spivak. Bielfeld: Kerber KABAKOV, I., KABAKOV, E. (2003). Where is our place?. Milano: charta. SLAGER, H. (2015).The Pleasure Of Research. Ostfildern-Ruit: Hatje Cantz KUSTER, U. , SHFF, R. (2015), Peter Doig. Ostfildern-Ruit: Hatje Cantz DUNINGAM, E. C. (2013). A Celebration Of Light: The Art Of James Turrel. Ostfildern-Ruit: Hatje Cantz
  • Visual Artes and Digital Media
  • 7066
  • 26046
  • Artistic Project I
  • IPLUSO7066-26046
  • 1
  • 10
  • 0
  • 4
  • Não
  • Português
  • The teaching methodologies are based on two models: classes for the presentation of ideas and portfolios carried out by the students and finalised with collective critical debates, and tutorial monitoring of the work carried out in the studio. The presentation classes are held at the beginning of the semester. The students share the progress of their artistic project and indicate their development intentions. The critical collective discussions at the end of these presentations continue the habit of sharing references and ideas and improve discursive capacity, curiosity about the work of their peers in a spirit of reflection and constructive dialogue
  • Mandatory
  • General Objectives: To familiarise students with the different steps, strategies and methodologies required to prepare a project in the visual arts, from research and experimentation to the conception and realisation of an exhibition. Specific Objectives: . To realise and substantiate a theoretical-practical project in the field of visual arts, making use of the interdisciplinary approach offered by the study cycle; . Stimulate an attitude of experimentation, as well as the maturing of each student's authorial approach; . To refine the ability to articulate the issues, themes and concepts called up by artistic research, in order to consolidate a critical and selfreflective discourse that enhances it; . Structuring moments for sharing learning and oral presentation of the work developed in an encouraging environment among peers
  • The CU includes theoretical and practical classes. The lectures focus on the definition, presentation and rationale of the artistic project, with emphasis on: - how to proceed with the thematic delimitation and formulation of a central question for a project in the field of visual arts,; - the different stages necessary for the elaboration and development of a project, taking into account the procedural specificity of each student and the different mediums in which it can be configured; - how to present a visual arts project in different situations (artist statement, project proposal for applying for grants, residencies, etc.). The practical classes, held in a studio and tutorial setting, are dedicated to the development of the project, practical experimentation and the artistic improvement of each student, under the supervision of the teachers and in dialogue/debate with classmates. At the end of the semester, students present their results with expository criteria and a portfolio.

  • A avaliação é contínua e presencial e tem dois momentos de avaliação periódica e um momento de avaliação final.

    • A avaliação contínua (30%): presença e a participação dos estudantes nos debates propostos em sala de aula, na capacidade de partilhar referências e de fomentar o pensamento crítico nas discussões de turma.
    •  
    • 1º momento intercalar(10%): apresentação informal do que está a ser realizado pelo estudante no âmbito do seu projeto
    • 2º momento intercalar (20%): relatório visual e informativo que deve mostrar em que ponto de desenvolvimento se encontra o projeto artístico face aos seus objetivos de concretização, seja pela quantidade de experimentações e obra enquadradas no programa concreto de trabalho
    • Avaliaç~ão final (40%): apresentação de uma exposição dos trabalhos realizados e de um portfólio que se pode assumir como um ensaio de um catálogo dessa exposição e os materiais de comunicação que dela derivam
  • Semestral
  • .

Fundamentals of Electrical Machines

Category: Discipline
  • - A. E. Fitzgerald, Charles Kingsley Jr, Alexander Kusko, máquinas elétricas, McGraw-Hill - José Manuel Lima D’Oliveira, Estudo do Transformador – Transformador monofásico, ISEL, 2012 - Luis F. Hogan Teves, Máquinas Eléctricas, Edição do autor, 2003 - Stephen J. Chapman, Electric Machinery and Power Systems Fundamentals, McGraw-Hill, 2002 - Theodore Wildi, Electrical Machines, Drives and Power Systems, Prentice-Hall, 2002 - David Bradley, Basic Electrical Power and Machines, Chapman & Hall, London, 1994 - Bhag S. Guru & Huseyin R. Hiziroglu, Electric Machinery and Transformers, Oxford University Press, 2001 - José V. C. Matias, Máquinas Eléctricas – Transformadores, Didáctica Editora, 2005 - José V. C. Matias, Máquinas Eléctricas – Corrente Alternada, Didáctica Editora, 2005 - José V. C. Matias, Máquinas Eléctricas – Corrente Contínua, Didáctica Editora, 2005
  • Electrical Installations and Automation
  • 6082
  • 22097
  • Fundamentals of Electrical Machines
  • IPLUSO6082-22097
  • 2
  • 5
  • 0
  • 4
  • Não
  • Português
  • Teaching is based on theoretical and practical classes. The students are motivated to assume an active attitude in the research of basic information, in the resolution of application problems and in the planning of the group works that will be assigned to them. The approval presupposes that the student succeeds: - in the 1st test (20%) and in the 2nd test (50%), in order to evaluate that the students have acquired the necessary knowledge about the programmatic contents; - group work (2 or 3 students per group) that reflects the knowledge acquired by the students, at the end each group will present their work to the other groups (50%). All students must participate in the evaluation activities, the attendance/commitment is valued at 10%, for students with at least 70% attendance. At the end of the semester, students may take an appeal exam (upon registration) which allows the student to replace one of the previous exams with a classification lower than 10 marks.
  • Mandatory
  • Know the electrical machines from the user's point of view and analyse their behaviour and applications based on their equivalent circuits. The students should acquire basic skills that will enable them to: OA1. to identify the importance of electrical machines; OA2. to recognise, distinguish and compare the different types of electrical machines; OA3. to understand the operation mode, equivalent circuit and construction characteristics of electrical machines; OA4. to use equivalent circuits of electrical machines to analyse their behaviour under various operating conditions under permanent regime; OA5. introduction to power Electronic converters.
  • CP1. Single-phase transformer - construction aspects; - working principle; - operation: - no-load - on load; - losses and efficiency.   CP2. Three-phase asynchronous motor - construction aspects; - working principle; - rotating field; - speed and torque; - starting and braking systems; - speed regulation.   CP3. DC motor - with parallel excitation; - compound excitation; - construction aspects; - operating principle and characteristics; - starting and speed regulation.   CP4. Synchronous Motor - constructive aspects; - synchronism; - working principle; - special electric motors: - stepper motor; - reluctance motor.   CP5. Introduction to Power Electronic Converters

  • Descrição

    Data limite

    Ponderação

    		 Nota minima

    1º Teste de avaliação

    DD-10-2026

    20%

    Parcial/partial 8,0

    Média/average 9,5 valores/values

    2º Teste de avaliação

    DD-12-2026

    20%

    Trabalho final de grupo

    Entrega até:

    *Apresentação oral:

    DD-MM-202A

    50%

    		 9,5 valores/values

    A assiduidade/compromisso é valorizada em 10% para a nota final, para alunos com assiduidade superior a 70% ou equivalente.

    * A apresentação oral, cerca de 15 minutos, será seguida de um período de perguntas e respostas, cada grupo deverá questionar/colocar pelo menos 1 questão ao grupo que está a apresentar.

     

     

     
  • Semestral
  • The curricular unit of Electrical Machines intends to provide the students with a set of basic knowledge that allows them to understand the phenomenon of electromechanical energy conversion and the basic operation of the electrical machines most used in industry.

Public Space and Community

Category: Discipline
  • . Abreu, J. G. (2005). Arte pública e lugares de memória. Em: Ciências da Arte e do Património (I Série vol. IV, pp. 215-234). Revista da Faculdade de Letras. . Cartiere, C., e Zebracki, M. (Eds.). (2015). The everyday practice of public art: Art, space, and social inclusion. Routledge. . Kester, G. H. (2011). The one and the many: Contemporary collaborative art in a global context. Duke University Press. . Knight, C. K. (2011). Public art: Theory, practice and populism. John Wiley & Sons. . Lacy, S. (2008). Time in place: New genre public art a decade later. Em: The practice of public art (pp. 18-32). Routledge. . Lawrence, J. (2008). Richard Serra drawings: work comes out of work. Kunsthaus Bregenz. . Miles, M. (2005). Art, space and the city. Routledge. . Valente, C. M. C. L. (2016). A street art no feminino: o lugar da mulher na Arte Pública. (Mestrado em Cultura e Comunicação). Faculdade de Letras da Universidade de Lisboa.
  • Drawing
  • 6947
  • 24073
  • Public Space and Community
  • IPLUSO6947-3-24073
  • 1
  • 5
  • 1187
  • 4
  • Não
  • Português
  • The pedagogical approach of the Curricular Unit combines theoretical classes with practical classes. Theoretical classes provide the conceptual and contextual framework. In practical classes, students apply these concepts in projects or case studies. Group discussions and critical analysis are also incorporated to encourage reflective thinking and enable a joint analysis of various methodologies and artistic practices for public spaces. The processes of applying for public art projects are addressed. These elements are expected to be complemented by visits from professionals in the field or specialized academics. In terms of learning, students are encouraged to undertake independent study with additional research. The practical application of the concepts learned is carried out through the development of their own projects. These are then presented and evaluated in a classroom setting, allowing for feedback from peers and teachers.
  • Optional
  • This course unit aims to equip students with artistic theoretical knowledge and practical skills for public spaces and community engagement. The specific objectives are: . Understand the theoretical foundations concerning art in public spaces and the relationship with the community.                               . Acquire knowledge about the procedures for applying to public art projects. . Develop skills for the conception and execution of practical projects in various public space contexts. . Integrate theory and practice in the development of art projects in public spaces. The pedagogical method combines theoretical lectures, which introduce foundational concepts, with practical classes focused on project implementation. Critical discussions and case study analyses will complement the instruction, and guidance on applying for public projects will also be provided.
  • 1. Theoretical Foundations: 1.1. Introduction to Public Space and Community Art 1.1.1. Concepts and Definitions 1.1.2. Historical Context 1.2. Theory and Practice of Art in Public Space 1.2.1. Types of Interventions 1.2.2. Methodological Approaches 1.3. The Community as Stakeholder 1.3.1. Needs Assessment 1.3.2. Engagement Strategies 2. Planning of Practical Projects: 2.1. Intervention in Parks and Gardens: Revitalization of Green Spaces 2.2. Mural Art: Urban Expression on a Large Scale 2.3. Temporary Installations: Ephemerality and Impact 2.4. Intervention in Protected Heritage Sites: Combining Art and History 2.5. Public Art and Sustainability: Creativity with Ecological Awareness 2.6. Thematic Projects and Events: Art with Purpose and Temporality

  • Ao longo do semestre, os estudantes são submetidos a uma avaliação contínua. Esta corresponde a 75% da nota final. Esta avaliação abrange desde feedback em tempo real em aulas práticas e revisões de projetos, até a participação em discussões coletivas que visam fomentar o pensamento crítico e reflexivo.

    A avaliação sumativa é realizada através da apresentação de um portefólio, que constitui 15% da avaliação final. O portfólio deverá refletir o corpus de trabalho desenvolvido ao longo do semestre e servirá como um indicador da integração e aplicação eficaz de conhecimentos teóricos e práticos.

    A assiduidade, participação e pontualidade são também valorizadas, representando 10% da nota final.

    De acordo com o Regulamento de Avaliação da IES, é mandatório que os estudantes cumpram com um requisito de presença mínima nas aulas para aprovação na unidade curricular. A falta de cumprimento desta exigência resultará na necessidade de prestação de exame.

    Exame de Recurso:

    O exame de recurso será dividido em duas partes: um exame prático que contará 50% e a apresentação de todos os trabalhos realizados ao longo do semestre, que também terá um peso de 50%.

     

    Throughout the semester, students undergo continuous assessment, which accounts for 75% of the final grade. This assessment ranges from real-time feedback during practical lessons and project reviews to participation in collective discussions aimed at fostering critical and reflective thinking. The summative assessment is conducted through the presentation of a portfolio, comprising 15% of the final evaluation. The portfolio should reflect the body of work developed over the semester and will serve as an indicator of the effective integration and application of theoretical and practical knowledge. Attendance, participation, and punctuality are also valued, constituting 10% of the final grade.

    In accordance with the Assessment Regulations of the Higher Education Institution, it is mandatory for students to meet a minimum attendance requirement for passing the course unit. Failure to comply with this requirement will necessitate taking an examination.

    Resit Exam: The resit exam will be divided into two parts: a practical exam accounting for 50% and the presentation of all works completed throughout the semester, which will also carry a weight of 50%.

     
  • Semestral
  • This curricular unit provides theoretical foundations and practical skills for the design and implementation of artistic projects in public spaces, with an emphasis on the relationship with the community and the procedures for applying for public art initiatives.  

Theories of Art I

Category: Discipline
  • . BENJAMIN, Walter (1992). Sobre Arte, Te?cnica, Linguagem e Poli?tica. Lisboa: Relo?gio D’A?gua. ISBN 9789896412708. . CAWS, Mary Ann (ed) (2000). Manifesto: a century of isms. Lincoln: University of Nebraska Press. ISBN 0803264070. . DANTO, Arthur C. (1998). After the End of Art. Princeton, Princeton University Press. . KRAUSS, Rosalind (1998).The Optical Unconscious. London, Massachussetts: October Books, The MIT Press. ISBN 978-0262611053. .FRANC?A, Jose?-Augusto (1974). A Arte em Portugal no se?c. xx. Lisboa: Ed. Bertrand. FOSTER, Hall, R. Krauss, Yve-Alain Bois e Benjamin H. D. Buchloh (2006), Arte desde 1900: modernidad, antimodernidad, posmodernidad, Madrid, Akal. . FRIED, Michael (1998).Absorption and Theatricality: Painting and Beholder in the Age of Diderot. Chicago: The University of Chicago Press, ISBN 978-0226262130. . GONC?ALVES, Rui Ma?rio (1998). A arte portuguesa do se?c. xx. Lisboa: Circulo de Leitores.
  • Visual Artes and Digital Media
  • 7066
  • 26047
  • Theories of Art I
  • IPLUSO7066-26047
  • 1
  • 5
  • 0
  • 4
  • Não
  • Português
  • The curricular unit's teaching and learning methodologies were designed in accordance with the institution's pedagogical model and the unit's specific objectives. In addition to the theoretical approach, through the exposition of content in class, with the aid of audiovisual materials, bibliography and access to support materials previously prepared by the lecturer (bibliography, audiovisual material, suggested events), all subjects are taught with the encouragement of critical dialogue, in the form of debates, visits to exhibitions and artists' studios and through the contribution of guests.
  • Mandatory
  • General objectives: To consolidate knowledge and methodologies with a view to deepening the ability to elaborate critical reflections on artistic production and the context of the visual arts in contemporary times; To instill dialogue and streamline writing tools based on texts and issues fundamental to the history, theory and philosophy of art; To understand the differences and approximations between different theoretical approaches (history, aesthetics, anthropology) in the visual arts. Specific objectives: To understand and interpret modern and contemporary visual works through ideas and concepts formed by 20th century theories and iconic texts; To generate well-informed arguments that reject, develop or support important theoretical issues related to art theory; Research, write and present your own visions on issues linked to artistic practice through one or more theoretical approaches. Debate and formulate theoretical discussions in groups and among peers.
  • In this CU, the contents are structured by bringing together the theories that underpinned the development of the visual arts during the 20th century and some of the thematic guidelines of contemporary art based on the writings of artists, texts by critics, philosophers, politicians and literary figures. Module 1. The Impressionist legacy: -Cézanne and the artist's texts; -Roger Fry - Vision and Form; -The artistic object - Interpretation, meaning and agency. Module 2. The advent of Modernity: -The Modernist Manifestos; -Clement Greenberg vs. Harold Rosenberg; -Views and readings of Rosalind E. Krauss. Module 3. Possibilities in postmodernism: - Michael Fried - Absorption and Objectuality; - Walter Benjamin and the concept of Aura; - Arthur Danto and the idea of the End. Module 4. 20th century National context

  • A avaliação é realizada combinando elementos de avaliação contínua (20%) e avaliação final (80%).
    A avaliação contínua compreende assiduidade (5%) e participação (15%) nas aulas.
    A avaliação final combina três elementos:
    A) uma comunicação oral de 15 minutos partir de um tema proposto e formato de conferência, que inclui debate com colegas (25%);

    B) recensão crítica de um texto à escolha de acordo com os conteúdos leccionados (25%);
    C) ensaio escrito a partir de um tema previamente proposto, relacionado com as propostas dos conteúdos da unidade curricular, e desenvolvendo criticamente as questões abordadas (30%).
    São avaliadas as competências de escrita e utilização das referências transmitidas para a elaboração de todos os exercícios e trabalhos escritos. São avaliadas as competências de leitura e interpretação do lido, pensamento crítico, organização de fontes e apresentação de diálogo com as leituras realizadas, articulação de conteúdos, estruturação do tema escolhido, e pertinência da integração dos temas trabalhados no contexto científico específico da área.
    As entregas são feitas via moodle de acordo com o calendário estabelecido para a unidade curricular (integrada no calendário letivo), definido entre a docente e os estudantes no início do respetivo semestre.
    De acordo com o Regulamento de Avaliação da IES, é obrigatório que os estudantes cumpram com um requisito de presença mínima nas aulas para aprovação na unidade curricular. A falta de cumprimento desta exigência resulta na necessidade de prestação de exame.
    O exame de recurso é constituído pela realização de uma recensão crítica a um texto incluído nos conteúdos programáticos (50%) e uma prova oral.
    É esperado dos estudantes uma atitude de integridade académica relativamente às práticas de citação e no uso adequado de IA.
  • Semestral
  • This curricular unit is dedicated to the development of critical thinking and writing about art, focusing on the analysis of works and concepts of contemporary visual arts through different theoretical and philosophical approaches.

Luminotechnics

Category: Discipline
  • Guerrini, Délio Pereira. Iluminação Teoria e Projeto, Editora Érica, 2008. ISBN 9788536501802. Jorge Fraile, A. Gago. Iluminación con tecnologia LED, Paraninfo, 2012. ISBN 9788428333689. Vajão, Vitor. Manual de Práticas de Iluminação - Arte a iluminar Arte, LIDEL.ISBN 9789897521690. Catálogos Diversos de marcas de iluminação. Dialux, disponivel em: https://www.dialux.com/en-GB/  
  • Electrical Installations and Automation
  • 6082
  • 22098
  • Luminotechnics
  • IPLUSO6082-22098
  • 2
  • 4
  • 0
  • 4
  • Não
  • Português
  • The exposure of the concepts is carried out by actively engaging the students. Illustrative examples of lighting studies are presented, and students are encouraged to apply these concepts by working on practical examples during the classes. Continuous assessment: Two partial submissions are to be completed during the semester, with a weight of 50% for Interior Projects and a weight of 50% for Exterior Projects. The assessment should take into account the comments and corrections gathered during the classes.
  • Mandatory
  • Provide the student with knowledge of natural, artificial and artistic lighting in indoor and outdoor environments according to the Portuguese standards and legislation in force; Master the visual effects of various types of light; Command circuits; Selection and application of the most appropriate equipment; Lighting simulation and calculation programs; Dialux; Relux.  
  • Syllabus Fundamental Concepts Introduction Natural and Artificial Light Quantities and Fundamental Laws Visible spectrum of light Lighting Design Technician Problems Types of artificial light Types of Lamps, features and applications Color Temperature Legislation Lighting Level Tables Interior lighting Introduction Natural and Artificial Lighting Legislation to consider Utilization Factor Method Indoor Luminaires and Lighting Lamps Energy saving and energy efficiency in indoor lighting Emergency lighting Interior Lighting Design Project Dialux 4 Dialux Evo Exterior lighting Introduction Artificial Lighting Legislation to consider Exterior Luminaires and Lighting Lamps Energy saving and energy efficiency in indoor lighting Exterior Lighting Design Project Dialux 4 Dialux Evo

  • Descrição dos instrumentos de avaliação (individuais e de grupo) ¿ testes, trabalhos práticos, relatórios, projetos... respetivas datas de entrega/apresentação... e ponderação na nota final.

    Exemplo:

    Descrição

    Data limite

    Ponderação

    Projeto de Interiores

    16-11-2024

    50%

    Projeto de Exteriores

    12-01-2025

    50%

     

     

     

     

     

     
  • Semestral
  • In a post-secondary cycle of studies in the area of technologies and engineering, a curricular unit plays a very important role, as it allows students to acquire the basic knowledge for the analysis, interpretation and correct design in the field of lighting. The Light Desing curricular unit aims to provide the student with knowledge of natural, artificial and artistic lighting in indoor and outdoor environments, as per current Portuguese standards and legislation. It is also intended that the student masters the visual effects of the various types of light, command circuits and selection and application of the most chosen equipment.
  1. Art and Identity
  2. Artistic Project II
  3. Anatomophysiology
  4. Digital Arts

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