Details

Category: Discipline

• Pacheco, José (2021). Apontamentos de Geometria. (Sebenta cujos conteúdos serão facultados aos alunos de acordo com a sequência das próprias aulas); Pinheiro, Carlos da Silva; Sousa, Pedro Fialho (1980). Desenho. Ministério da Educação e Ciência.  
• Architecture
• 367
• 4
• Não
• Português
• M1 Use of specialized drawing software; M2 Student application of the content developed in class and shared by the teacher via the class email.
• Mandatory
• The student should be able to: O1: apply theoretical and practical knowledge of geometry relative to the observer (conical perspective), in their ability to represent and encompass the object; O2: recognize projection as an integral part of the design process; O3: recognize projection as a method of graphic rigor; O4: demonstrate technical skill in the technical representation of forms, as required for the future exercise of professional practice.
• DAAD - Department of Architecture, Arts and Design
• CENTRAL OR CONICAL PROJECTION S1: INTRODUCTION Origin of the system. The perspectograph. S2: REPRESENTATION OF THE POINT, THE LINE, AND THE PLANE Alphabet of the point. Alphabet of the line. Notable cases. Lines parallel to the picture plane. Lines parallel to the ground plane (geometral). Traces, vanishing points, and relative positions. S3: REPRESENTATION OF PLANE GEOMETRIC FIGURES Rotation of the ground plane (Geometral). Construction of circles. S4: PRACTICAL METHODS FOR THE REPRESENTATION OF SPACES AND OBJECTS IN RIGOROUS LINEAR PERSPECTIVE.
• Semestral
• Geometry presents itself as a tool and a means of representing the conceptual object. As such, it is responsible not only for technique, understood as an instrument, but also for the conceptual mechanics associated with it. The ability to make visible and to enable making is a fundamental part of the creative process underlying the discipline of architecture.

Geometry presents itself as a tool and a means of representing the conceptual object. As such, it is responsible not only for technique, understood as an instrument, but also for the conceptual mechanics associated with it. The ability to make visible and to enable making is a fundamental part of the creative process underlying the discipline of architecture.

Details

Category: Discipline

• - Benevolo, Leonardo; Albrecht, Benno (2004)- As Origens da Arquitectura . Lisboa: Edições 70. - Kostof, Spiro (1995) - A History of Architecture: Settings and Rituals . Oxford: oxford University Press. - Norberg-Schultz, Christian (2000) - Arquitectura Occidental . Barcelona: Gustavo Gili. - Roth, Leland M (2018) - Understanding Architecture: Its Elements, History and Meanings . Abingdon: Routledge. - Llera, Ranón Rodriguez (2006) - Breve História da Arquitectura, Lisboa, Editorial Estampa. - Moffet, Marian, Fazio, Michael, Whodhouse, Lawrence (2003) - A World History of Architecture, Singapura, Laurence King Publishing.  
• Architecture
• 367
• 4
• Não
• Português
• Each theme to be developed must be framed in the intellectual and cultural conjuncture, in general, and, in the artistic one, in particular. M1- Drawing will be used insofar as it provides a better understanding of the architectural object and is a fundamental instrument in the formulation of its synthesis. M2- Use will also be made of written language in the form of descriptive synthesis and training in the observation of the architectural object. The specific vocabulary of each moment in history is thought of as a means of relating the architectural object with the respective construction methods, materials, meanings, etc. M3- Students are called to participate in all classes either through more direct answers to concrete questions or through reflections that emerge from the ongoing discourse.
• Mandatory
• Understanding the practical and theoretical architectural panorama of the Middle Ages and its presence in current practice and theory of architecture. So the objecives ares the following:  O1- Understanding the History and Theory of Architecture in the broader cultural context throughout History. O2- Understanding the relationship between theoretical and, as far as possible, the tecnologies aplied in building. O3- Understanding of the past and how it can be instrumental in thinking about the new issues that will arise in Architecture in the present and in the future. O4- Understanding of History as an instrumental discipline in thinking or projecting in Architecture.
• DAAD - Department of Architecture, Arts and Design
• S1-         1.1- Carolingian and Merovingian proto-Romanesque architecture and how it takes root in Byzantine architecture.         1.2- Romanesque architecture as heir to Western and Eastern Roman architecture S2- Gothic architecture. S3- Late Gothic and its transition to the Renaissance
• Semestral
• This UC will address as a theme the Middle Ages, the Carolingian and Merovingian proto-Romanesque and how it is part of the Byzantine evolution, but essentially the Romanesque and Gothic and the transition to the Renaissance. Like the other History of Architecture disciplines, it aims, beyond its scope, to constitute itself as a conceptual and instrumental basis for project disciplines. It intends that the student understand the various aspects associated with medieval architecture and also give the student the ability to know how to observe, seeing similarities and differences and the characteristics of different styles in Western culture. Make the student understand how shapes evolve to the present and be able to reason, responsibly, about their present.

This UC will address as a theme the Middle Ages, the Carolingian and Merovingian proto-Romanesque and how it is part of the Byzantine evolution, but essentially the Romanesque and Gothic and the transition to the Renaissance. Like the other History of Architecture disciplines, it aims, beyond its scope, to constitute itself as a conceptual and instrumental basis for project disciplines. It intends that the student understand the various aspects associated with medieval architecture and also give the student the ability to know how to observe, seeing similarities and differences and the characteristics of different styles in Western culture. Make the student understand how shapes evolve to the present and be able to reason, responsibly, about their present.

Details

Category: Discipline

• Chanyakorn, O. A. (2023). Architectural scale from inside-out. In EAEA16 Conference Proceedings. Ching, F. D. K. (2015). Architecture: Form, space, and order (4th ed.). Wiley. Dornburg, J. (2000). Arte e arquitetura: Novas afinidades. Editorial Gustavo Gili. Bachelard, G. (2005). A poética do espaço. Martins Fontes. Campo Baeza, A. (2018). A ideia construída. Caleidoscópio. Fonatti, F. (1988). Princípios elementares de la forma en arquitectura. Gustavo Gili. Sola-Morales, I. de. (2002). Territórios. Gustavo Gili. Távora, F. (2008). Da organização do espaço. FAUP. Zumthor, P. (2005). Pensar a arquitectura. Gustavo Gili.
• Architecture
• 367
• 10
• Não
• Português
• M1: Theoretical-practical classes M2: Practical project development classes M3: Collective critique sessions M4: Guided independent work M5: Tutoring and individual supervision
• Mandatory
• By the end of the semester, students should achieve the following learning outcomes: O1: Respond autonomously and with well-founded reasoning to the design challenges proposed, developing a coherent design concept. O2: Integrate sensory concerns into the design process, articulating spatial composition, formal expression, and scale. O3: Critically address architectural issues in a broad sense, relating the design exercise to wider disciplinary questions. O4: Demonstrate mastery of basic representation tools, using them appropriately for the communication of the design project.
• DAAD - Department of Architecture, Arts and Design
• S1: Conception of the design idea Identification and formulation of the idea Critical reading and interpretation Architectural references S2: Design and exploration of the brief Analysis and organisation Relationship between brief/use/user S3: Composition and spatial organisation Principles of architectural composition (solid/void, rhythm, proportion, balance) Spatial organisation/exploration of the idea Interior/exterior S4: Scale and proportion Human scale/built space Basic proportion, modulation and dimensioning Perception of scale through drawings/models and reference elements S5: Representation of the project Sketches/collages/diagrams/schemes - instruments of thought and exploration Models - instruments of thought, exploration and final representation Technical drawing - rigorous communication of the proposal S6: Communication of the project Presentation panels Models and portfolio Short reflective texts on the design idea Oral presentation and critical argumentation of the proposal
• Semestral
• The second-semester Design Studio has as its main objective the consolidation of students' competencies in spatial design and in the development of their own design process, making a decisive contribution to the formation of a solid architectural mindset.

The second-semester Design Studio has as its main objective the consolidation of students' competencies in spatial design and in the development of their own design process, making a decisive contribution to the formation of a solid architectural mindset.

Details

Category: Discipline

• KOSTOF, Spiro - A History of Architecture: Settings and Rituals . Oxford: oxford University Press, 1995. NORBERG-SCHULTZ, Christian - Arquitectura Occidental . Barcelona: Gustavo Gili, 2000. ROTH, Leland M - Understanding Architecture: Its Elements, History and Meanings . Abingdon Routledge, 2018 LLERA, Ranón Rodriguez - Breve História da Arquitectura, Lisboa, Editorial Estampa, 2006 MOFFET, Marian, FAZIO, Michael, WODEHOUSE, Lawrence, A World History of Architecture, Singapura, Laurence King Publishing, 2003  
• Architecture
• 367
• 4
• Não
• Português
• Each theme to be developed must be framed in the intellectual and cultural conjuncture, in general, and, in the artistic one, in particular. Drawing will be used insofar as it provides a better understanding of the architectural object and is a fundamental instrument in the formulation of its synthesis. There will also be use of written language in the form of descriptive synthesis and training in the observation of the architectural object. The specific vocabulary of each moment in history is thought of as a means of relating the architectural object with the respective construction methods, materials, meanings, etc. Abstracting from language and other specific constraints of each historical moment to relate the object under analysis with other contemporaries is also proposed. Students are called to participate in all classes either through more direct answers to concrete questions or through reflections that emerge from the ongoing discourse.
• Mandatory
• Understanding the practical and theoretical architectural panorama of the Renaissance and Classicism as an attitude contrary to medieval barbarism, without, however, ignoring the precious plastic and constructive contribution of the Romanesque and Gothic styles. Focus students on understanding the evolutionary process of architecture and consequently its presence in current architectural practices and theory. Understanding the History and Theory of Architecture in the broader cultural context throughout History. Understanding the relationship between theoretical and technical/technological propositions. Understanding of the past and how it can be instrumental in thinking about the new problems that will arise in Architecture in the present and in the future. Understanding of History as an instrumental discipline in thinking or projecting in Architecture.
• DAAD - Department of Architecture, Arts and Design
• 1. Italian Renaissance 1.1 The discovery of Perspective and its design 1.2. The reinterpretation of the classic models of Antiquity 2. Mannerism 2.1. The Reformation and the Counter-Reformation 2.2.Mannerism as a language "in the manner of" and of slow transition to the Baroque 2.3. Jesuit architecture 3. Baroque 3.1. italian baroque 3.2. Central European Baroque, in particular French and Germanic. Anglo-Saxon Baroque. 3.2.1 Rococo 3.2.1 Rococo in Central Europe 4. Neoclassical 4.1. Neoclassical in Continental Europe 4.2. Anglo-Saxon Neoclassical
• Semestral
• This UC will address as themes the various manifestations of Renaissance architecture, and its consequences in Mannerism up to Baroque and Rococo. It will also address the passage to the neoclassical as a result of the Enlightenment, but above all the tiredness of the Baroque-Rococo. Like the other History of Architecture disciplines, it aims, beyond its scope, to constitute itself as a conceptual and instrumental basis for project disciplines. Understanding architecture in history will be fundamental, both to formulate new proposals and to intervene on what has already been built. This UC also intends to be a contribution for the student to look at architecture through the human and poetic.

This UC will address as themes the various manifestations of Renaissance architecture, and its consequences in Mannerism up to Baroque and Rococo. It will also address the passage to the neoclassical as a result of the Enlightenment, but above all the tiredness of the Baroque-Rococo. Like the other History of Architecture disciplines, it aims, beyond its scope, to constitute itself as a conceptual and instrumental basis for project disciplines. Understanding architecture in history will be fundamental, both to formulate new proposals and to intervene on what has already been built. This UC also intends to be a contribution for the student to look at architecture through the human and poetic.