Hotel Management and Operation

Category: Discipline
  • Chibili, M., de Bruyn, S., Benhadda, L., Lashley, C., Penninga, S., & Rowson, B. (2017). Modern hotel operations management (1st ed.). Routledge. https://doi.org/10.4324/978100302232 Taylor, B. & Smith, S.(2023). Hotel housekeeping: operations and management. Kruger Brentt Publisher UK. ISBN:9781787150959  Li, X. (2025). Research on smart hotel operation management based on artificial intelligence. Higher Education Press Group. ISBN:9798993317533 Abranja, N., Elias, A., & Almeida, M. (2026). Gestao Hoteleira II -Sustentabilidade . Experiência e Tecnologia. Pactor Ges. ISBN: 9789896932152 Hayes, D. K., Ninemeier, J. D., & Hanson, B. (2025). Hotel Operations Management. Pearson. ISBN: 9780138310714  
  • Tourism Business Management
  • 6331
  • 23220
  • Hotel Management and Operation
  • IPLUSO6331-23220
  • 1
  • 5
  • 0
  • 4
  • Não
  • Português
  • In classroom work, and during the brainstorming phase, students are allowed to use generative artificial intelligence.
  • Mandatory
  • By the end of the semester, students should be able to: 1. Identify and structure the departments of a hotel unit and their operational interdependencies. 2. Master hotel terminology and key performance KPIs (Occupancy, ADR, RevPAR, GOP). 3. Manage the guest cycle, from booking to check-out, ensuring an excellent experience. 4. Apply reservation, credit, guarantee, cancellation, and overbooking management policies. 5. Coordinate operations between Reception, Housekeeping, and Maintenance, optimizing room availability and quality. 6. Recognize the impact of technology (PMS, AI, mobile) and sustainability on operational efficiency. 7. Manage complaints and conflict situations, applying service recovery and loyalty techniques. 8. Plan staffing needs based on occupancy forecasts and operational peaks.
  • 1. Framework of Hotel Operational Management 2. The Hotel Product and the Guest Cycle 3. Commercial and Distribution Management 4. The Reservations and Reception Department (Front Office) 5. Housekeeping Management 6. Maintenance and Facilities Management 7. Technology and Innovation in Operations 8. Trends and Future of Hotel Operations

  •  

    Descrição

    Data limite

    Ponderação

    Teste de avaliação

    28-04-2026

    50%

    Teste de avaliação

    16-06-2026

    50%

    (...)

     

     

    Nota: Só se farão arredondamentos na avaliação final. A nota miníma em cada momento de avaliação é de 7 Valores.

     
  • Semestral
  • The Hotel Management and Operation course unit aims to provide students with the theoretical and practical skills to understand, plan, and operationally manage hotel establishments. In an increasingly competitive and demanding sector, operational excellence constitutes a strategic differentiator for the profitability of the investment and guest loyalty. The course unit addresses hospitality as an integrated ecosystem, where departments such as Reception, Housekeeping, Maintenance, Food & Beverage, and Sales interact synergistically. The daily management of operations is explored, from the guest cycle (pre-arrival to departure), through team management, cost control, application of technology (PMS, AI), and implementation of quality, sustainability, and revenue policies. The approach combines conceptual foundations with case studies, operational simulations, and analysis of industry best practices, preparing future managers for the real challenges of contemporary hospitality.

Artistic Design Project II

Category: Discipline
  • . AAVV. (2005). New perspectives in drawing, vitamin D. Phaidon . Barrett, T. (2010). Making Art: Form and Meaning. McGraw-Hill. . Bishop, C. (2012). Artificial Hells: Participatory Art and the Politics of Spectatorship. Verso. . Bismarck, M. (2007). Desenhar é o desenho. Livro de Atas de Conferência Nacional. Faculdade de Belas Artes da Universidade do Porto. . Danto, A. C. (1997). After the End of Art: Contemporary Art and the Pale of History." Princeton University Press. . Hoptman, L. J. (2002). Drawing Now: Eight Propositions. The Museum of Modern Art. . McNiff, S. (1998) Art-Based Research. Jessica Kingsley Publishers. . Maslen, M. e Southern, J. (2011). Drawing Projects: An Exploration of the Language of Drawing. Black Dog Publishing. . Sale, T., & Betti, C. (2007). Drawing: A contemporary approach. Cengage Learning. . Sullivan, G. (2010). Art Practice as Research: Inquiry in Visual Arts. SAGE Publications.  
  • Drawing
  • 6947
  • 26040
  • Artistic Design Project II
  • IPLUSO6947-2-26040
  • 1
  • 10
  • 0
  • 4
  • Não
  • Português
  • Just like in "Artistic Drawing Project I," the classes for "Artistic Drawing Project II" will be divided between theoretical and practical components, both intrinsically intertwined. The theoretical component will benefit from oral presentations supported by audiovisual media, which will be enriched by a variety of practical examples and artistic references. Visits to exhibitions and studios, as well as the participation of guest artists, will provide students with a contextualized and applied understanding of contemporary artistic practices, aligning with the learning objectives. In the practical component, the environment will resemble that of a studio, allowing students to work on the development of their individual artistic projects. The initial phase of the classes will be characterized by guided exercises that explore different techniques and materials, followed by a more autonomous phase where students will work on their individual projects under tutorial guidance.
  • Mandatory
  • This curricular unit aims to serve as an advanced continuation of "Artistic Drawing Project I." Its objectives are: - To deepen Authorial Identity by consolidating one's own style and individual artistic voice, aligning drawing practice with the conceptual and discursive questions each student wishes to explore; - To advance the drawing techniques learned on the first semester, exploring materials and methods in accordance with the requirements of the individual artistic project; - To integrate different dimensions of drawing—formal, conceptual, expressive—into more complex and nuanced compositions; - To foster an applied and contextual understanding of contemporary artistic practices, through case analysis and interaction with professionals in the field, thereby enhancing the ability to articulate one's own artistic work; - To increase autonomy in conducting research and in carrying out artistic projects, from conception to exhibition.
  • - Continuation of the work initiated in the first semester with the course 'Artistic Drawing Project I,' incorporating new materials and techniques that may enhance the individual artistic project; - Practical exercises and case studies focused on consolidating the student's unique style and artistic voice; - Practical studies integrating formal, conceptual, and expressive aspects in drawing, with the creation of compositions that combine traditional and digital techniques, or that integrate elements from different artistic disciplines; - Review and discussion of contemporary examples of drawing and art, both in terms of technique and content; - Deepening art research techniques, with a focus on conducting investigations that can support the personal artistic project, using methods such as "Art-Based Research"; - Practical guidelines on how to prepare works for exhibition, including considerations about assembly, curation, and interaction with the public.

  • A avaliação contínua constitui a maior parte da nota final, com uma ponderação de 70%. Esta componente está alinhada com os objetivos de aprofundamento técnico, desenvolvimento da identidade autoral e integração de dimensões formais, conceptuais e expressivas no trabalho artístico. O feedback contínuo dos docentes facilita o ajuste e a melhoria constantes, permitindo que os estudantes compreendam e aprimorem suas áreas fortes e pontos a melhorar.

    A contextualização do projeto tem uma ponderação de 20% e está intrinsecamente ligada ao objetivo de desenvolver uma compreensão mais profunda e aplicada das práticas artísticas contemporâneas. Espera-se que os estudantes sejam capazes de articular eficazmente os conceitos e as teorias que informam o seu trabalho, tanto por escrito como oralmente, e que demonstram um entendimento contextualizado do seu projeto artístico.

    A assiduidade, participação e pontualidade compõem os restantes 10% da avaliação.

    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%.

     

     

     

    The continuous assessment makes up the majority of the final grade, with a weight of 70%. This component is aligned with the objectives of technical deepening, development of authorial identity, and integration of formal, conceptual, and expressive dimensions in artistic work. Continuous feedback from instructors facilitates ongoing adjustments and improvements, allowing students to understand and enhance their strengths and areas for improvement.

    The project's contextualization has a weight of 20% and is intrinsically linked to the objective of developing a deeper and applied understanding of contemporary artistic practices. Students are expected to effectively articulate the concepts and theories that inform their work, both in writing and orally, and to demonstrate a contextualized understanding of their artistic project.

    Attendance, participation, and punctuality make up the remaining 10% of the assessment.

    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 deepens the authorial practice in artistic drawing, contributing to the development of an individual style, the advanced use of techniques and the critical articulation of work in the context of contemporary artistic practices.  

Digital Animation

Category: Discipline
  • . Blair, P. (2020) Cartoon Animation with Preston Blair, Revised Edition: Learn techniques for drawing and animating cartoon characters. Walter Foster Publishing. . Denis, S. (2010). O Cinema de Animação. Edições Texto & Grafia. . Enns, A. (2022). Time-Critical Animation: Comics, Cartoons, Computers. Journal of Science and Technology of the Arts, 14(3), 11-28. . Luz, F. C. (2009). Animação digital: reflexos dos novos medias nos conceitos tradicionais de animação. In VIII Congresso LUSOCOM. Lisboa (pp. 919-936). . Mateu-Mestre, M. (2010). Framed Ink: Drawing and Composition for Visual Storytellers. Design Studio Press. . Riley, C.(2021). The Hollywood Standard - Third Edition: The Complete and Authoritative Guide to Script Format and Style. Michael Wiese Productions. . Rousseau, D., e Phillips, B. (2013). Storyboarding Essentials: SCAD Creative Essentials (How to Translate Your Story to the Screen for Film, TV, and Other Media). Watson-Guptill.
  • Visual Artes and Digital Media
  • 7066
  • 15914
  • Digital Animation
  • IPLUSO7066-15914
  • 1
  • 5
  • 1262
  • 4
  • Não
  • Português
  • The teaching/learning process adopts a theoretical-practical approach based on the demonstration of real and practical examples; in direct contact with the technologies necessary to produce narrative and/or experimental animated short films using digital drawing; in the development of work methodologies, research, and creative processes; in the collective critical analysis at the end of classes about all the work done.
  • Optional
  • Acquire knowledge and artistic and technical competences in movement-image through narrative animated digital drawings. Animate forms and characters with digital techniques and methodologies. Develop competences in sequence drawings in non-linear video editing software, and export files. Analyze, interpret, and decode animated sequences through their narrative, moving and visual elements. The exercises and the animation project allow to continuously stimulate the production capacity of audio-visual content, as well as the acquisition of knowledge and skills in the interpretation and exploratory graphic creation of concepts and ideas. The approach to syllabus contents through the development of the project allow the continuous mobilization of technical knowledge and skills and facilitates the acquisition of vocabulary and methodological skills, leading to an easier integration into the labour market and collaborative projects.
  • NARRATIVE AND/OR EXPERIMENTAL SHORT FILM Short animation and promotion. . Historical and conceptual notions: vision persistence, optical toys, chronophotography, animation, cinema; . Application of specific skills in the various production stages of a short film (pre-production, production, post-production, dissemination and promotion); . Creation of narratives (logline), characters (character sheet and turnaround) and scenarios (appropriate for the parallax effect); . Script (Hollywood standard) and Storyboarding; . Development of animated sequences (walking cycle, lip sync, key-frames and in-betweens); . Animation in non-linear editing software; . Open-source soundtrack, dialogs, sounds and sound effects (foley); . Typography for animation (open and end credits); . Export to small and large screens and web publishing; . Supports and strategies for communication and dissemination in print and on the web (poster and trailer).

  • Esta UC segue um método de avaliação contínuo e presencial. Ponderação da Avaliação: Logline e guião: 10%

    Character sheet e turnaround, cenários e storyboard: 20%

    Curta-metragem animada: 50%

    Cartaz e trailer: 10%

    Avaliação contínua: pontualidade, participação e assiduidade: 10%

    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%.
  • Semestral
  • This curricular unit aims to develop technical and artistic skills in the field of digital animation.

Distribution and Development of Sales Locations

Category: Discipline
  • Bibliografia e recursos didáticos recomendados: Lindon, D., et. al. (2010). Mercator XXI – Teoria e Prática do Marketing. 13ª Edição, Publicações Dom Quixote. Lush, Robert F. et. al, (2011). Introduction to Retailing, South-Western, Ohio. Novaes, A.(2009). Logística e Gerenciamento da Cadeia de Distribuição. Editora Campus. Rousseau, J. (2008). Manual de Distribuição. 2ª Edição. Principia Editora. 
  • Commercial and Sales Management
  • 6148
  • 21454
  • Distribution and Development of Sales Locations
  • IPLUSO6148-21454
  • 2
  • 5
  • 0
  • 4
  • Não
  • Português
  • Innovative methodologies to support the teaching-learning process will also be used.
  • Mandatory
  • Get an overview of the distribution function, based on its evolution and characterization. Understand the economic and business function of commercial distribution in an organization. Analyze and appropriately select distribution channels. Understand the importance of choosing a distributor and use the appropriate criteria for your selection. Analyze power and conflict relations in a distribution channel. Identify the most appropriate transport and routes. Understand the impact of the location of the point of sale on the success of the business, as well as being able to apply the appropriate methods to determine the best location.
  • 1. What is distribution – historical evolution 2. Notion of distribution 3. The commercial apparatus - Notion, function and agents - Distribution circuits and channels - Types and forms of distribution - Typology of distributors - Distributor selection criteria 4 The wholesale sector - Characterization and evolution of the wholesale sector 5. The retail sector - Characterization of the sector - Independent retail segment - Associated retail segment - Integrated retail segment: notion and typology 6. Relations between producers and distributors - Power and conflict relations in the distribution channel 7. Transport - Transport typologies - Own fleet or distribution subcontracting - Route programming 8. Locations and implementation of the point of sale - Methods for deciding on the location of installations - Type of installations, layout, design and display of products 9. The challenges of distribution - National and international perspectives - Globalization in distribution

  • 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

    Teste de avaliação

     

    Trabalho de Grupo

    A combinar com os alunos 

    Ao longo do semestre

    40%

     

    30%

    Participação e Trabalhos Contínuos

    Ao longo do Semestre 

    30%

    (...)

     

     

     

    Adicionalmente poderão ser incluídas informações gerais, como por exemplo, referência ao tipo de acompanhamento a prestar ao estudante na realização dos trabalhos; referências bibliográficas e websites úteis; indicações para a redação de trabalho escrito...

     
  • Semestral
  • UC falls within the scope of distribution from a commercial perspective. It operates at the level of various distribution channels with a huge impact on selection and sales.

Spanish Language II

Category: Discipline
  • Bueso, Isabel (2013) Prisma, Comienza (A1) – Continúa (A2); Edinumen; Madrid. Álvarez Martínez, Mª Ángeles (2005): Vuela 1, 2, 3 y 4; Anaya; Madrid. Moreno, Concha (2009), Temas de gramática – Nivel superior, 7ª Edición, SGEL S.A, Madrid. Gramática Essencial de Espanhol, SCHMITT-BOHRINGER, ASTRID E TE (Autor), Teresira Rodriguez (Autor), Astrid Schmitt-bohringer  
  • Hotel and Restaurant Management
  • 3572
  • 8802
  • Spanish Language II
  • IPLUSO3572-8802
  • 1
  • 4
  • 0
  • 4
  • Não
  • Português
  • Books and grammar, both physical and online.
  • Mandatory
  • In the end, it is intended that the student has acquired communication skills that allow him to deepen the development of the four communicative skills (oral and written comprehension and oral and written expression); understand and produce coherent statements of a different nature appropriate to their level; describe and narrate past experiences and events; talk about future plans and events as well as start the student in the metalinguistic reflection of Spanish as a second or foreign language.
  • 1.  CONT. GRAMMAR. 1.1 Indicative: Pret. more-than-perfect, Imperfect future and Simple Conditional 1.2 Imperfect preterito 1.3 Indefinite Preterite. 1.4 Prepositions and conjunctions 1.5 Verbal perifrasis: aspectuais, obligatoriety, incoactive 1.6 Accent 1.7 Be/be/have   2. CONT. LEXICON 2.1 Time expressions of usual actions in the past 2.2 Courtesy expressions 2.3 Means of transport, accommodation, travel; 2.4 Physical states, diseases and remedies;   2.5 The hotel. 2.6 Adverbial locutions of space and time.   3.CONT. FUNTIONAL 3.1 Talk about present, past, future and probable actions; 3.2 Express preferences; 3.3 Express agreement and disagreement; 3.4 No restaurant 3.5 Speak and describe the Hotel. 3.6 Food vocabulary and restaurant dialogues.   4. CONT. PHONETIC 4.1 Intonation of affirmative and negative imperative prayers; 4.2 Diphthongs, tritongos and hiatus;    5. CONT. CULTURAL 5.1 Geographical division of Spain, stereotypes; 5.2 Spanish and Hispanic-American cultural diversity  

  • 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

    Teste de avaliação

    dd-mm-yyyy

    30%

    Portfolio

    dd-mm-yyyy

    40%

    (...)

     

     

     

    Adicionalmente poderão ser incluídas informações gerais, como por exemplo, referência ao tipo de acompanhamento a prestar ao estudante na realização dos trabalhos; referências bibliográficas e websites úteis; indicações para a redação de trabalho escrito...

     
  • Semestral
  • Castilian language or Spanish language is the name given to a Romance language originating in Spain and which today is the most spoken language of the Americas. The Castilian language is named after castile. Along with English is the Western language that has the most speakers. Although Castilian is a mainly American language, it is spoken on the five "continents", although in some in an almost residual way. It is the official language of: Argentina, Bolivia, Chile, Colombia, Costa Rica, Cuba, Ecuador, El Salvador, Spain, Guatemala, Equatorial Guinea, Honduras, Mexico, Nicaragua, New Mexico (USA), Panama, Paraguay, Peru, Puerto Rico (USA), Dominican Republic, Uruguay and Venezuela
  1. Taxation I
  2. Financial Auditing
  3. Neurophysiology
  4. Neurophysiology

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