Details

Category: Discipline

• Campo Baeza,A.(2013).Pensar com as Mãos.(2th ed.).Caleidoscópio.ISBN:9789896581008 Janeiro, P.A. (2011). Arquitecturas-Ficcionadas: O Desenho.  Lisboa Books. ISBN: 9789896971854. Neto, S.M. (2019). Error. An Inventive Resource in Drawings.Oil Forest League.  ISBN: 9788894139488. Pinto, L.M. (2012). Desenho - Perceção e Forma.  Edições Colibri. ISBN: 9789896892326
• Architecture
• 367
• 6
• Não
• Português
• M1 . To understand the  necessary grammar to draw  architetonic space , beginning by coping "with consciece "a complete /simple project, in  order  to understand the architectonic language and how to read a project, realizing the importance  of the differet  lines and expressions used for it. M2. Discussion of the concepts used by Campo Baeza in " Thinking with the Hands", after reading the book. M3.  To draw several interior spaces  of different tipologies , using those conceps , aplying the skills of the 1´semester , with enphasis on materiality, light, shadow, havyness. 
• Mandatory
• O1.Develop the fundamental role of drawing in Project practice, understanding it as essential to represent the entire universe inherent in the practice of architecture. O2.Provide the student with observation and representation skills, not only of all that surrounds him , but as well as conceptual thinking. O3.Drawing should be understood as a universal tool that translates the concrete world and ideas. In this sense, and following the knowledge acquired in the discipline of Drawing I, it is intended to stimulate and develop in the student: O3.1.A critical observation and analysis, as well as creative imagination, expressing  space and materiality,using the previous skills O3.2. Understanding the concept of  the different scale of the building  ( interior)  as well  as the human one.
• DAAD - Department of Architecture, Arts and Design
• S1. Drawing II  is based on an exploratory path,  understanding the interior architectural space, underlining the importance of the real observation of interior space. S2. This process will have the introduction of the concepts  of tectonic and stereotómic, based in the book " THINKING WITH THE HANDS"  by Campo Baeza. The skills and tools previously adquired must express those concepts, where  heavyness,materiality, density, light  and shadow must be explored trough the adquired technics.   
• Semestral
• Draw  II is a  fundamental tool for thinking and doing Architecture, so it is essencial for Project Studio.  Search to improve a critical sense how to see the space around us, how to represent and express it.

Draw  II is a  fundamental tool for thinking and doing Architecture, so it is essencial for Project Studio.  Search to improve a critical sense how to see the space around us, how to represent and express it.

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.