Details

Category: Discipline

• Fashion and Textile Design and Production
• 6582
• 6
• Não
• Português
• DAAD - Department of Architecture, Arts and Design
• Semestral

Details

Category: Discipline

• VEIGA da CUNHA, Luís - Desenho Técnico. 15ª edição. Lisboa: Fundação Calouste Gulbenkian, 2010. ISBN 978-972-31-1066-1 VAN LENGEN, JOHAN - Manual do Arquitecto Descalço. Lisboa: Dinalivro, 2010. ISBN 978-972-576-565-4 MONTANER, Josep Maria - Sistemas arquitectônicos contemporâneos. Barcelona: Editorial Gustavo Gili. 2009. ISBN 978-84-252-2356-3
• Architecture
• 367
• 4
• Não
• Português
• Two theoretical-practical exercises, one main singular and one group support, with the Projeto I UC, where the entire range of knowledge presented in the semester is distributed; quick exercises, where the solution of particular questions is addressed, generically removed from the development of the main exercise. Series of thematic lectures, emphasizing specific matters related to the proposed theoretical-practical exercises and more general themes of the discipline and designing in architecture in general. Assessment is continuous, it being understood that the subject of the course is not limited to the knowledge conveyed through lessons and manuals, but also through practical experimentation and sharing with the work group. The student's success is not only evaluated according to the merit of the work submitted, but also through their participation in the group - both in terms of attendance and, above all, contribution to the ongoing discussion and its conclusions.
• Mandatory
• The student will acquire a range of theoretical and practical knowledge that will serve as an introductory basis to the universe of construction in architecture, understanding technical knowledge in construction as a tool in the design process. The student will, step by step, begin to develop the symbiotic connection that architecture maintains with constructions, and to establish between creation, form and constructability in their project proposal. The student will begin to develop the technical, theoretical and practical proficiency, necessary for the production of the architectural project.
• DAAD - Department of Architecture, Arts and Design
• 1 - Architectural Systems I 1.1 - Presentation and description of the notion of architectural system - according to the synthesis proposed by José Maria Montaner. 1.2 - Presentation of a core group of contemporary architectural systems and the use of this synthesis as a tool for architectural design. 2 - Building Systems I 2.1 - Linear Systems I 2.2 - Load-bearing wall systems I 2.2.1 - Constructions based on treated earth. 3 - Systems by 3d printing - Introduction.
• Semestral
• The Sistemas Construtivos I Curricular Unit introduces students to a fundamental aspect of architecture, based on the precept that one of the distinctive and identitary elements of an architectural piece, the result of the design act, is that it is a constructible "thing". This means that, from the very beginning, from the very first moment of the MIA.ISMAT course, this UC will teach the future architect the need to master constructive systems and the language of communication for the work, so that, in the future, with a master's degree, he will be able to embody his architectural response, through something included in the discipline's collection. Using the learning-by-doing method, the UC will inculcate basic principles (for example, gravity or balance) throughout the semester, always taking care to communicate the reasons and causes behind these axioms.

The Sistemas Construtivos I Curricular Unit introduces students to a fundamental aspect of architecture, based on the precept that one of the distinctive and identitary elements of an architectural piece, the result of the design act, is that it is a constructible "thing". This means that, from the very beginning, from the very first moment of the MIA.ISMAT course, this UC will teach the future architect the need to master constructive systems and the language of communication for the work, so that, in the future, with a master's degree, he will be able to embody his architectural response, through something included in the discipline's collection. Using the learning-by-doing method, the UC will inculcate basic principles (for example, gravity or balance) throughout the semester, always taking care to communicate the reasons and causes behind these axioms.

Details

Category: Discipline

• HARA, Kenya. White . Lars Muller Publishers, 2010. JANEIRO, Pedro António. Arquitecturas-Ficcionadas: O Desenho . Lisboa: Chiado Editora, 2011. LUPTON, Ellen. La Bauhaus y Ia Teoria dei Diseno . Barcelona: G.G., 1994. NICOLAIDES, Kimon. The Natural Way to Draw . Boston: Houghton Mifflin Company, 1969. PINTO, Luís Moreira. História da Percepção na acção projectual . Tese de Doutoramento, 2007. (http://repositorio.uportu.pt/dspace/bitstream/123456789/300/1/TDH%2026.pdf  
• Architecture
• 367
• 6
• Não
• Português
•   Each exercise has specifical objectives, the materials to be used, the format to be presented, the duration Development of a set of practical exercises, elaborated and accompanied in class. Theoretical support and percentage of classification. The exercises will be appropriate to the objectives of the course, and consist of 3 main exercises (each one lasting 4 weeks), and there may be, whenever necessary, parallel exercises that allow a better understanding of the objectives. The works will be presented and discussed in the classroom. Each exercise will be presented in a A4 format. It will be introduced other areas oh knowledge, like literature or filosophy.
• Mandatory
• Develop the fundamental role of drawing in Project practice, understanding it as essential to represent the entire universe inherent in the practice of architecture. Provide the student with observation and representation skills, not only with all that surrounds him , but as well as conceptual thinking.
• DAAD - Department of Architecture, Arts and Design
• The syllabus of Design I is based on an exploratory path, first of the "Line"as an essential basic primary element, through the use of various conventional and unconventional materials and then of the "Spot", where it should be recognized its anatomy, its abstract condition and, consequently, its intrinsic intentionality and its expressive role in the message and narrative. Once the "Line" and "Spot" are explored, this knowledge will be applied to reading and representing objects at different levels, at different scales, in different relationships. The last phase will be the confrontation of these objects with the concepts of dimension, proportion, position, scale of space and the human figure, creating various levels of relationships and hierarchy.
• Semestral
• Drawing should be understood as a universal tool that translates the concrete world and ideas. In this sense, it is intended to stimulate and develop in the student: - Critical observation and analysis as well as creative imagination; - The exploration of graphic and expressive potentialities of different materials and specific instruments Drawing; - The understanding of the "Line" as a graphic expression of Drawing and for Drawing; - The discovery in the "Spot" of the expressive potentialities of graphic space, rhythm, tensions, movement, textures, etc .; - Critical reading of one or more objects through the identification of a mental and gestural path; - Understanding the concept of hand-scale and surrounding space (including the introduction of the human figure).

Drawing should be understood as a universal tool that translates the concrete world and ideas. In this sense, it is intended to stimulate and develop in the student: - Critical observation and analysis as well as creative imagination; - The exploration of graphic and expressive potentialities of different materials and specific instruments Drawing; - The understanding of the "Line" as a graphic expression of Drawing and for Drawing; - The discovery in the "Spot" of the expressive potentialities of graphic space, rhythm, tensions, movement, textures, etc .; - Critical reading of one or more objects through the identification of a mental and gestural path; - Understanding the concept of hand-scale and surrounding space (including the introduction of the human figure).

Details

Category: Discipline

• RICCA, Guilherme - Geometria Descritiva? Método de Monge. Lisboa: Fundação Calouste Gulbenkian, 1992; PINHEIRO, Carlos da Silva e Pedro Fialho de Sousa - Desenho. Lisboa: Colecção de Textos pré-universitários, 1980; ASENSI, F. Izquierdo - Geometría Descriptiva. Madrid: Editorial Paraninfo, 1997.
• Architecture
• 367
• 4
• Não
• Português
• Theoretical-practical methodology. Preliminary presentation of the theoretical contents and their application and consolidation through the assisted resolution of practical exercises. The evaluation process is based on three elements: a) continuous assessment taking into account the attendance and quality of student participation. b) periodic evaluations of practical exercises related to the various thematic units. c) Frequencies. Continuous evaluation................................................ ............................... 10% Practical exercises ................................................ ............................... 40% Frequencies ................................................. ........................................ 50%
• Mandatory
• The student must be able to: - apply theoretical and practical knowledge of observer geometry (conical perspective) in its ability to represent and engage the object; - recognize projection as an integral part of designing; - recognize projection as a method of graphic rigor; - demonstrate skills of dexterity in the technical representation of the forms necessary for the future exercise of professional practice.
• DAAD - Department of Architecture, Arts and Design
• INTRODUCTION: 1. Notion of projecting figures in space; 2. Types of projection. AXONOMETRIC REPRESENTATION: 1. Definitions and generalities; 2. Direction and escape angles; 3. Reduction coefficients; 4. Axonometry using oblique projections: Knight representation and Military representation; 5. Axonometry using orthogonal projections: Isometric, Dimetric and Trimetric representation. ORTHOGONAL DOUBLE PROJECTION SYSTEM 1. Representation of Points, Lines and Planes: Intersections of Lines, Planes and Lines with Planes; 2. Representation of Flat Figures; 3. Representation of solids.
• Semestral
• By contributing to the development of skills necessary for spatial perception and visualization, Geometry presents itself as an instrument/means of representing the conceptual object. As such, he is responsible not only for the technique understood as an instrument, but also for the conceptual mechanics associated with it. The ability to show things and make things possible is a fundamental part of the creative process underlying the discipline of architecture.

By contributing to the development of skills necessary for spatial perception and visualization, Geometry presents itself as an instrument/means of representing the conceptual object. As such, he is responsible not only for the technique understood as an instrument, but also for the conceptual mechanics associated with it. The ability to show things and make things possible is a fundamental part of the creative process underlying the discipline of architecture.