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.

Details

Category: Discipline

• Alberti, L. B. (1988). On the Art of Building in Ten Books (J. Rykwert, N. Leach, & R. Tavernor, Trans.). Cambridge, MA: MIT Press. (Original work published 1452) Le Corbusier. (2004). Para uma arquitectura. Lisbon: Edições 70. (Original work published 1923) Deplazes, A. (Ed.). (2022). Constructing Architecture: Materials, Processes, Structures. A Handbook (4th ed.). Basel: Birkhäuser.
• Architecture
• 367
• 4
• Não
• Português
• The course unit is organised into theoretical and practical sessions, which complement each other in the construction of knowledge. The theoretical sessions introduce fundamental concepts of tectonics, addressing matter and the constructive and constitutive elements of architecture, understood in their articulation between technical logic, structure, and spatial quality. The practical sessions are organised in a workshop format, oriented towards graphic and three-dimensional work, through analytical redrawing and the production of models, which allow the observation, interpretation, and communication of the relationships between matter, form, and use in the buildings studied. The semester is structured around three main exercises, each focused on a distinct scale of approach to the building and its construction: Exercise 1 — Scale 1:100 Exercise 2 — Scale 1:50 Exercise 3 — Scale 1:20
• Mandatory
• Knowledge: to identify and understand the constitutive elements (floors, walls, roofs, and openings) and the associated constructive elements. Skills: to develop the ability to observe, graphically and three-dimensionally analyse, represent at different scales, and critically interpret case studies. Competences: to integrate into architectural reasoning the relationship between matter, construction, and space, building the basis for critical reflection applicable to future design practice.
• DAAD - Department of Architecture, Arts and Design
• The course unit is structured around case studies organised by materials — stone, brick, steel, concrete, and wood — which serve as the guiding thread of all exercises. These cases orient observation and critical interpretation of constructive qualities, allowing for the concrete understanding of constitutive elements (floors, walls, roofs, and openings) and constructive elements, including processes of joining, stereotomy, and structural systems. Exploration is carried out through exercises at different scales of representation (1:100, 1:50, and 1:20), linking theoretical study with the practice of manual drawing and three-dimensional modelling. Each exercise develops from a specific case study and, step by step, integrates conceptual, constructive, and representational dimensions, ensuring the consolidation of knowledge.
• Semestral
• The course unit Constructions 01 – Tectonic Architecture, included in the 2nd year, 1st semester of the Architecture programme, focuses on the analysis of the constitutive and constructive elements of architecture, understood as interdependent systems of matter, technique, and space. Its relevance lies in its contribution to the mastery of architectural technology, establishing a foundation of theoretical, technical, and critical knowledge that is essential to consolidating the academic path and understanding the fundamentals of building. The Extented Project Brief in PDF format is an integral part of this FUC.

The course unit Constructions 01 – Tectonic Architecture, included in the 2nd year, 1st semester of the Architecture programme, focuses on the analysis of the constitutive and constructive elements of architecture, understood as interdependent systems of matter, technique, and space. Its relevance lies in its contribution to the mastery of architectural technology, establishing a foundation of theoretical, technical, and critical knowledge that is essential to consolidating the academic path and understanding the fundamentals of building. The Extented Project Brief in PDF format is an integral part of this FUC.

Details

Category: Discipline

• Botton, Alain de (2013). A arquitectura da felicidade. [The architecture of happiness] Lisbon, Portugal: Ed.D.Quixote. ISBN:9789722039321 Hara, Kenya (2007). White. Baden, Switzerland: Lars Müller Publishers. ISBN: 9783037781838. Jencks, Charles (1985). Towards a symbolic architecture: the thematic house. New York, U.S.A.: Rizzoli international Publications, inc. ISBN 10: 0847806596, ISBN 13: 9780847806591
• Architecture
• 367
• 6
• Não
• Português
• classes and development of content-based curriculum, including seminars by guiding theme; Practical development classes and execution of the exercises with listed exploration; Mixed classes alternating basic theory to empirical application, the implementation of ongoing exercises, and critical synthesis of Hours of work organized according to the exposed ratio and distributed by: Theoretical presentation the obtained results. Continuous evaluation and obligatory attendance, according to previous timetable. Final evaluation measured by partial ones: - Realization of the exercises, fulfilment of objectives and associated parameters, and composition of the final folder containing all work - 90% - Attendance and participation  - 10%
• Mandatory
• . Understanding the kinetics and speed dynamics of drawing, directly related to the degree of quantitative and qualitative information and graphic representation. 2. Analytical capacity over morphology by studying the elements of form. 3. Development of techniques of perspective representation. Ability to use various methods of representation, to explore various recording materials and media, understanding their potential and recognizing its versatility. Notion of distances, depths, angles, rotations and overlaps. 4. Analytical capacity on spatiality and urban landscape: Exercise of visual memory and capacity for synthesis. Exercise of mimetic representation and formal evolution. 5. Pleasure in the practice of drawing as an routine exercise, allowing developing artistic sensibility and aesthetics of the architect: Developing skills for continuous learning. 6. Drawing study design as hypothesis. 7. Dialectical analysis on corrective drawing and evolutionary drawing.
• DAAD - Department of Architecture, Arts and Design
• A.  Introduction to colour and the relation with space.The drawing of drawing, degrees of detail and analysis: Reading the images, study of the graphic on intensity, amplitude, speed and frequency. Drawing in real-time and in deferred. B. From body to space: Study of the relationship between blots, their perception and its abstraction. Analysis of the body as form. Analysis of the bodies as context. C. The interior space, transition areas and outer space: Urban analysis (sequential) and synthetic representation. Isolated representation by phases and by architectural criteria. Identification and selection of significant elements in the field and highlight - emphasis and exclusion. Synthesis of the happenings in space allowing to study how changes occur in the visual field. Decomposition pathways and plans into sequences where the visual field undergoes changes. D. Morphological analysis. E. Perception of the actual construction of motion pictures in scenic space. F. Introduction to colour.
• Semestral
• The Curricular Unit of Drawing III aims to provide teaching about drawing techniques that allow exploring visuals with diversified aesthetics and to observe the unexpected in today's world. Drawing as a way of synthesizing the world around us and transforming existing worlds

The Curricular Unit of Drawing III aims to provide teaching about drawing techniques that allow exploring visuals with diversified aesthetics and to observe the unexpected in today's world. Drawing as a way of synthesizing the world around us and transforming existing worlds