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Chambers, Cynthia R. "POP Arts: Inclusive Performance Arts Programming." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/3868.
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Chambers, Cynthia R., and T. Takenaka. "POP Arts: An Inclusive Performance Arts Program." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3875.
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Chambers, Cynthia R., and K. Buttolph. "POP Arts: An Inclusive Performance Arts Experience." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3877.
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Giroud, Jeanette. "Secondary arts teachers' perceptions of integrated arts." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1997. https://ro.ecu.edu.au/theses/1726.
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During the 1980s, research in the arts by Project Zero and Arts Propel revealed that in American schooling the areas of artistic intelligence and artistic education had been neglected. Gardner (1989) proposed a theory of multiple intelligences, suggesting that in addition to the linguistic and logical-mathematical forms, there are a number of distinct forms of intelligence that each individual may possess in varying degrees. The concept of multiple intelligences as opposed to "talent" in an art form offers the opportunity to view arts education in a new light. The original purpose of Arts Propel was to assess artistic potential in the same way that IQ or SAT instruments are designed to test scholastic potential. What began as an assessment endeavour, became a curricular undertaking and as a result, a number of educational institutions developed integrated arts approaches to arts learning, claiming that where the arts were integrated within the curriculum, higher achievement was recorded. The National Curriculum's statement on The Arts for Australian Schools (1993) included the five arts forms of dance, drama, media, music and visual arts as "Arts" components and justified this stance by clearly stating that the common statements and profiles accommodated a wide range of approaches. However, the strands of arts experience and learning - Creating, Making and Presenting, Arts Criticism and Aesthetics, and Past and Present Contexts - have the potential to provide a common framework for integration of the various forms. During the course of this research the strands have already been subject to change and are now known as Expressing, Responding and Reflecting. During the trialling phase of The Arts' Student Outcome Statements, divisions between the arts forms became apparent. Some of the issues included: attempts by arts teachers to maintain the status quo, strong boundaries between the arts, unequal representation of arts forms in schools and application of Student Outcome Statements Strands to all the arts forms. At the commencement of this research the divisions between the arts forms remained as strong as ever, yet a truly integrative approach has the potential to strengthen the place of arts in schools. This research documented ten secondary arts teachers' perceptions of integrated arts. The teachers all taught in government schools and each art form was represented by two teachers. The purpose of the research was to record arts teachers' perceptions of integrated arts at a time of rapid curriculum change. Qualitative methodology using the instrument of semi-structured scheduled interviews was the data gathering process. The interviews were audio-taped and once the data was compiled it was sent to the participants for their approval. This study found that arts teachers' perceptions of integrated arts were, on the whole, positive. Most teachers believed that an integrated arts approach would give students a deeper understanding of the arts and promote bonding between arts teachers. Teachers felt that the combination of the five arts forms into one learning area (The Arts), provided long overdue recognition of the arts as a significant learning area. Other perceived benefits included the building of strength and support, and the overcoming of isolation that characterised the arts in schools in the past. It is recommended, as a result of this study, that where possible, the physical location of the arts departments in schools should be considered during the planning stage so that arts areas are not isolated. It is also recommended that media and dance should adopt the changes, so that The Arts area of learning will not be fragmented. This can be achieved through document support which will show dance and media teachers how they can work effectively within an Arts framework. Integrated Arts programs, such as those offered by some of the schools in this study, will provide strong guidelines for future arts consolidation and enrichment in schools.
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Fagot, Sylvain. "Ethno-sociologie du cirque : arts de la piste, arts du corps, arts du risque." Nantes, 2003. http://www.theses.fr/2003NANT3030.
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Le cirque est un art qui a pour propriété d'être continuellement en transformation, en même temps qu'il reste la figure de l'éternel recommencement. L'émergence de nouvelle forme esthétique dans la piste, depuis les années soixante, traduit parfaitement cette flexibilité stylistique d'une production artistique très disciplinée. Une histoire sociale du cirque permet donc d'appréhender, à partir d'une problématique historique de l'évolution de cet art populaire ainsi qu'à travers une étude comparative des formes de sa représentation, les différentes dispositions et variations du spectacle selon les stratégies sociales et économiques engagées. Dans toutes ces configurations, le cirque exhorte les artistes à la réalisation de prouesses dans l'exacerbation du dépassement physique et du corps à corps avec le risque. Le cirque est construit autour de l'exhibition du danger, qu'il centralise et canalise sur la piste dans une cérémonie sacrificielle, où le hasard est dompté et refoulé aux limites de l'incertitude. Les arts du cirque sont le catalyseur d'une mise en piste de postures et de disciplines aussi riches en équilibre qu'en déséquilibre. Spectacle d'une " métaphysique du silence ", le cirque célèbre l'animalité première des fauves aussi bien que le vol suspendu des trapézistes, dans une architecture hautement symbolique : le cercleThe circus is an art in constant transformation. It is the symbol of new beginnings. The emergence of a new art form, les arts de la piste, since the 1960s, illustrates perfectly the stylistic flexibility of a highly disciplined form of artistic expression. This paper presents a sociological history of the circus, including the historical evolution of this popular art form and a comparative study of the different forms of representation, to provide an understanding of the different types and variations of circus performances according to the social and economic strategies involved. In all of its forms, the circus pushes the artist to perform exploits, challenging physical limits and flirting with danger. The circus is built around the exhibition of risk taking and danger, a sentiment that is concentrated and channeled into the circus ring in a sacrificial ceremony that dominates danger and pushes back the limits of uncertainty. Circus arts are the catalyst behind the staging of disciplines that are as rich in their sense of equilibrium as imbalance. A spectacle that hinges on the metaphysics of silence, the circus celebrates the primal animalism of wild beasts as well as the suspended flight of trapeze artists, all within the highly symbolic architecture of the circus ring : the circle
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Skinner, Patrick J. "ARTS UPDATE." International Foundation for Telemetering, 1986. http://hdl.handle.net/10150/615575.
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International Telemetering Conference Proceedings / October 13-16, 1986 / Riviera Hotel, Las Vegas, NevadaModernizing labor intensive Remote Tracking Stations (RTS), increasing individual station capacity, and providing interoperable links between three separate Air Force satellite networks are the objectives of the Automated RTS (ARTS) program now half way to completion.
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Buttolph, K., and Cynthia R. Chambers. "Power of Performance Arts: An Inclusive Performance Arts Program." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3871.
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Chambers, Cynthia R. "The Power of Performing Arts—inclusion in the Arts." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3873.
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Barbosa, Marli Gonçalves. "A construção do desenho a partir do espaço religioso." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/283994.
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Orientador: Lygia Arcuri ElufDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este Projeto de Mestrado, sob a orientação da Professora Doutora Lygia Arcuri Eluf, originou-se a partir de uma série de desenhos que vem sendo desenvolvidos desde 1998, dos quais selecionamos parte deles para a apresentação deste trabalho. O trabalho foi estruturado em grupos de imagens que tratam o desenho como uma forma de aproximação do outro e de mim mesma, do meu modo de estar no mundo. O que se pretende nesta dissertação é, por meio da linguagem visual e dos procedimentos técnicos do desenho, valorizar o fazer criativo: a intenção, o ato de criar, transformar e realizar algo.
Abstract: This Master's Project under the guidance of Professor Lygia Eluf Arcuri, originated from a series of drawings that have been developed since 1998. Some of them were selected for the presentation of this work. The work was divided into groups of images that deal with the drawing as a way to approach the other and myself, to my way of being in the world. The aim of this work is, through the visual language and technical processes of drawing, value the creative making: the intention, the act of creating, transforming and accomplishing something.
Mestrado
Artes Visuais
Mestre em Artes
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Buttolph, K., Cynthia R. Chambers, J. Gaines, and T. Wynn. "Power of Performing Arts (POP Arts): An Inclusive Performing Arts Program for Individuals with and without Disabilities." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/3876.
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Obeid, Caroline. "Arts scan : Ottowa's local identity, arts in the new city /." Philadelphia, Pa. : Drexel University, 2002. http://dspace.library.drexel.edu/handle/1860/446.
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Hindman, Jessica. "The Useful Arts." Thesis, University of North Texas, 2012. https://digital.library.unt.edu/ark:/67531/metadc283812/.
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This creative nonfiction dissertation is a series of braided narratives that chronicle the author's career as a trombonist in the John Smith Ensemble. As an amateur trombonist, the author is shocked to be hired as a professional musician for an orchestra that plays on PBS and at Carnegie Hall. She quickly realizes, however, that the job requires her to play the trombone quietly in front of an unplugged microphone while a CD recording of another, more talented trombonist is blasted out toward an unknowing audience. The job also requires the author to tour around America. The scenes of from this tour are braided with scenes wherein she reflects on her life as a professional fake musician and her past failed attempts at getting a job.
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Poláková, Alexandra. "Arts Council England." Master's thesis, Akademie múzických umění v Praze. Divadelní fakulta AMU. Knihovna, 2010. http://www.nusl.cz/ntk/nusl-79415.
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This text presents basic analysis of the functioning of the Arts Council England. First section describes the main sources of funding arts and culture in Great Britain. Special part is devoted to the activity of the UK National Lottery. Next chapter examines the history and effect of the Arts Council England. A separate section deals with the impact of economic crisis on Arts Council England and presents how the recession affected financing of culture in the UK. The final chapter is devoted to application of the funding system of Great Britain to the Czech Republic. It describes the possibility of transferring some aspects to Czech life and the possibility of creation the same organization as Arts Council England in Czech Republic
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Liu, An. "Read-In Arts." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4878.
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As interior designers, we strive to design everything for our clients, from complex environments to the joinery of a chair. We rarely consider inviting our clients or the users to join us in finishing the space.
Read-In workshop is not a school, but a kind of home, a home belonging to children, which provides the possibilities for children to play, to learn, to occupy, to personalize, and to share. An emotional space that will not limit the user, but keep inspiring them. It helps children notice, think, and grow.
Half of the interior space will be a fixed design, designed and fabricated during the first construction phase. The other Half will be designed as a flexible and changeable “framework” space, which allow the users to reorganize, repaint, and refinish, depending on their evolving educational needs and aesthetic tastes. Therefore, this “incomplete” workshop will share control with children. The contents of the framework will be continuously updated by the children who participate in the Read-In arts programs.
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Rodrigues, Ligia Luciene. "A perpectiva no trabalho de Regina Silveira : uma investigação da perpectiva na arte contemporanea." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284655.
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Orientador: Anna Paula da Silva GouveiaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa teve por objetivo investigar a utilização da perspectiva na arte contemporânea por meio do trabalho da artista plástica brasileira Regina Silveira. Uma das preocupações foi analisar as questões que estão por trás da presença da perspectiva dentro da produção artística atual, como por exemplo, a crítica à natureza da imagem e seus meios de representação, a manipulação do ponto de vista, a simulação e a ilusão do espaço e ainda como deformação no caso das anamorfoses. Todas essas questões foram permeadas pela teoria da percepção visual e da psicologia da percepção em análises das obras da artista brasileira, seus trabalhos gráficos (desenhos e gravuras), objetos e instalações a partir do final dos anos 70 até os mais atuais, como também os chamados desenhos preparatórios e as maquetes, que são projetos nos quais a artista desenvolve as idéias de seus trabalhos e são neles que mais se percebe a manipulação da perspectiva. Também foram analisados trabalhos de outros artistas que discutiram ou discutem as mesmas questões que a artista brasileira, como por exemplo, Marcel Duchamp e Jan Dibbets. Essa análise mostrou que cada período histórico possui sua visão de mundo e uma maneira de dirigir o olhar para um determinado ponto de vista, portanto uma maneira de utilizar a perspectiva. Nos dias atuais, a subversão do olhar do espectador e, ainda, a destruição da estabilidade de sua percepção causada por essa subversão, fazem da manipulação do ponto de vista a partir do uso da perspectiva, uma atitude contemporânea no trabalho desses artistas
Abstract: This research was intended to investigate the use of perspective in contemporary art through the work of the Brazilian artist Regina Silveira. One of the concerns was the issues behind the presence of perspective within the current artistic production, for example, the critical of the image¿s nature, the resources of representation, the manipulation of viewpoint, the simulation, the space illusion and the deformation as in the case of anamorphosis. All these questions were related to the theory of visual perception and the psychology of perception in analyses of the Regina Silveira¿s work, in graphics (drawings and prints), objects and installations from the end of 70 to the current, but also the called preparatory drawings and models, that are projects in which the artist develops the ideas of their work and more if realizes the manipulation of perspective. Were also analyzed works of other artists who discussed or discuss the same issues as the Silveira, for example, Marcel Duchamp and Jan Dibbets. The analysis showed that each historical period has its vision of the world and to deal the look for a particular viewpoint, so a way to use the perspective. Nowadays, the subversion of the look of the spectator and, yet, the destruction of stability of their perception caused by such subversion, make the manipulation of viewpoint a contemporary attitude in the work of such artists
Mestrado
Mestre em Artes
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Williams, Susan C. "An Arts Administration internship with the Arts Council of New Orleans." ScholarWorks@UNO, 2002. http://scholarworks.uno.edu/aa_rpts/16.
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On May 6, 2002 I began my internship with the Arts Council of New Orleans. The Arts Council of New Orleans is a private, nonprofit organization that provides a variety of cultural planning, advocacy, public art economic development, arts education, and grant initiatives to the city of New Orleans and surrounding areas. Since its creation in 1975, the Arts Council has been the official arts agency for the City of New Orleans. My role at the Arts Council was to work in the Marketing and Development Department, with the major task of updating the annual Arts Directory. Besides work on the directory, my time was spent working for other divisions of the Arts Council, including the Entergy Arts Business Center, the Grant Department and Louisiana ArtWorks. The following report is the analysis of a three-month internship with the Arts Council of New Orleans. It begins with a look at the organization's history, staff and programming and then focuses on the internship's assignments. The purpose of the internship was to gain experience working in a nonprofit arts organization, tying together all ofthe concepts that are studied in the courses of the Arts Administration Program. My internship at the Arts Council of New Orleans was an overall learning experience of the many facets of a nonprofit arts organization.
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Harper, Meredith. "Contemporary Arts Center: A Case Study of a Nonprofit Arts Organization." ScholarWorks@UNO, 2012. http://scholarworks.uno.edu/aa_rpts/138.
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The following paper documents Meredith Harper’s internship from May 2012 to August 2012 at the Contemporary Arts Center in New Orleans, LA as part of the degree requirements for the Master of Arts in Arts Administration. The Contemporary Arts Center (CAC) is the only non-collecting, multi-disciplinary arts center in New Orleans, and has worked to present the very best of the "art of now" to the New Orleans community since 1976.
This paper is written from the point of view of an arts administrator observing the organization as an outsider. This paper will discuss the responsibilities and duties of the internship, focused through the lens of organizational development, and examine the CAC’s institutional effectiveness by identifying strengths and providing solutions for areas needing improvement.
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McKean, Barbara Jane. "Arts every day : teachers' conceptions of arts education in elementary school /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/7804.
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Chambers, Cynthia R., K. Buttolph, A. L. Shortt, C. Culbertson, and K. Bevins. "Power of Performance Arts: An Inclusive Community-Based Performance Arts Program." Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etsu-works/3878.
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Paris, Lisa. "Visual arts history and visual arts criticism : Applications in middle schooling." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1240.
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Visual arts history and criticism occupy central positions in visual arts curriculum statements in Western Australia. This status is sustained by the belief that the study of visual arts history and criticism actively contributes to the education of the student as a "whole person". In reality however, rather than attending to the holistic education of students, the application of visual arts history and criticism in Western Australian schools tends to be pragmatic and instrumental - visual arts teachers often use visual art works as "learning aids" because they don't have time, interest or experience in dealing with visual arts works in any other way. While visual arts history and criticism offer the student a valuable life-skill worth acquiring for the contribution they could make to the student's autonomy and personal welfare, this understanding often seems a foreign concept for many classroom teachers. The difference between theorists' and teachers' understandings of the place and purpose of visual arts history and criticism provides an important area of inquiry requiring urgent attention. This research makes a foray into this domain with the purpose of shedding light on the content and methods used by middle school visual arts teachers and their students' perceptions of the content and methods. A qualitative descriptive study was selected for the research taking the form of semi-structured interviews with six teachers. An interview guide was used and transcripts deriving from this methodology were coded by way of reference to the original research questions and classifications which emanated from emergent themes. The teacher interviews were complemented by a questionnaire administered to one class of students from each of the six schools. Participating teachers were selected through a stratified sampling technique. Analysis of data was undertaken from a qualitative stance in the case of interview participants. Narrative-style reporting of interview content was employed to facilitate accurate representation of the teachers' perceptions of visual arts history and criticism at the middle school level. A quantitative analysis of students' questionnaires provided triangulation of methodology, ensuring greater levels of validity than would be afforded by qualitative methods alone. With pressure being applied by the impending implementation of the Curriculum Framework for Kindergarten to Year 12 Education in Western Australian Schools (1998) for the formal inclusion of Arts Responses (aesthetics, art criticism) and Arts in Society (art history), a pressing need exists for clear information about current professional practice. Findings indicated that a misalignment appears to exist between theoretical assumptions embedded in documentation supporting the implementation of the Framework and actual classroom teaching practice. The implications of such misalignment, albeit illustrated on a small scale, are that the initiatives of the Framework may not be sustainable in the longer term, precisely because they are built upon invalid assumptions about what teachers actually do. Whilst the size of the sample and scope of the research limits the generalisability of findings, this first foray may provide impetus for a more comprehensive and evaluative study at a later date.
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Goulão, Maria José. "La puerta falsa de América: a influência artística portuguesa na região do Rio da Prata no período colonial." Tese, 2005. https://repositorio-aberto.up.pt/handle/10216/91124.
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Goulão, Maria José. "La puerta falsa de América: a influência artística portuguesa na região do Rio da Prata no período colonial." Doctoral thesis, 2005. https://repositorio-aberto.up.pt/handle/10216/91124.
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Ball, Pamela. "Drawing on the arts : the Manitoba English language arts curriculum and the arts connection." 2003. http://hdl.handle.net/1993/12317.
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Chang, Su-pao, and 張書豹. "The Development of Contemporary Arts and Public Arts." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/12127564663452258257.
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碩士國立臺北藝術大學
傳統藝術研究所
93
This study aims to analyze the condition of art within society from the perspective of the contemporary development of “contemporary art” and “public art.” After the height of modernism in the 20th century, when art was far removed from the masses, following the tide of post-modernism, the barrier between art and life gradually broke down, bringing a critical moment for a reunion between the two. This study first discusses the course of development of “art” and “public art” through a review of related research. Along the way, the author demonstrates the links between art and the masses via the changes in thinking from “modernism” to “post-modernism” and the cases of public and contemporary art. The first chapter explores the various links between art and society via a discussion of the study of the origins and social conditions of art. The second chapter describes the great change in the course of society’s thinking from modernism to post-modernism, which altered the relations between art and the masses. This change created a good opportunity for a reunion between art and the masses, and we should not overlook the two milestones along the way to this reunion: Dadaism and pop art. The third chapter discusses the rise of public art, beginning with the government-sponsored public art projects of Roosevelt’s New Deal. It emphasizes that the fruits of this “public” art were far different from the commemorative statues already in public spaces. The chapter also explores the practicality of Taiwanese public art in its early stages of development. In addition to describing the responsibilities of public art, the fourth chapter describes the topics of “the elite and the masses” and “art and the public” in the practice of public art and contemporary art, as well as the value of public art’s pursuit of the “process.” The fifth chapter points to the phenomena of “contemporary art,” “public art” and the “citizen aesthetic” in Taiwan today through means of a discussion of the cases of German artist Beuys’s “social sculpture” and Bourdieu’s cultural education and “the heart of history.”
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Garcia, Sara Manuela de Araújo. "Os teatros no século XXI - 6 casos de estudo." Dissertação, 2014. http://hdl.handle.net/10216/77245.
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This dissertation propones an overview on the architectural practise of theaters in 21st century. From the consideration of six european buildings, designed between the end of 20th century and first decade of 21st century, built ou in construction phase, it is intended to create a field of reflection on theatre typology#8217;s contemporary outlook.The work is developed with the presentation, analysis and interpretation of each of the proposed buildings. Their selection was based on the detection of themes that matched the specificities of each case and at the same time formulate a set that would allow a comparative analysis, developed in the conclusion of the dissertation.As so, the following themes are considered, in this order of presentation: Urbanity, Public Space, Form and Image, Programmatic Aggregation, Limits and Atmosphere. In each case, the authors and its disciplinar context are presented, as it is the city in which the buildings are located and its context phisical, social and cultural. Furthermore, it is made an approach to the essencial aspects of each building: placement, programme, distribution and form, developed in relation to the proposed theme of each case.At the end, in terms of conclusion, a synthesis about the observations is made. Putting the six study cases in comparison, parallilisms and divergences are set out, as also the persistencies and tendencies.Esta dissertação propõe uma abordagem à arquitectura dos teatros no século XXI. A partir da consideração de seis edifícios europeus, projectados entre os finais do século XX e a primeira década do século XXI, construídos ou em fase de construção, pretende-se criar um campo de reflexão em torno do panorama contemporâneo da tipologia teatral.O trabalho desenvolve-se com a apresentação, análise e interpretação de cada uma das obras propostas. A sua selecção teve por base a detecção de temas que correspondessem às especificidades de cada caso de estudo e que, ao mesmo tempo, formulassem um conjunto que permitisse a análise comparativa, desenvolvida na conclusão do trabalho. Assim, por ordem de apresentação, consideraram-se os seguintes temas, cada um deles correspondendo a cada caso de estudo:Urbanidade, Espaço Público, Forma e Imagem, Agregação Programática, Limites e Atmosfera.Em cada obra, apresentam-se os seus autores e respectivo contexto disciplinar, a cidade em que se localizam e o seu contexto envolvente - físico, social e cultural. Para além disto, abordam-se os aspectos essenciais da obra: implantação, programa, organização e forma, desenvolvidos em relação com o tema proposto.No final, em modo de conclusão, sintetizam-se as observações obtidas a partir do estudo das obras e discorre-se acerca delas. Colocando-se os casos de estudo em situação de comparação, denunciam-se paralelismos e desvios e enunciam-se as constantes e tendências.
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Carvalho, Inês Silva. "Intervenções contemporâneas em património construído: do conceito ao pormenor." Dissertação, 2015. http://hdl.handle.net/10216/80262.
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Intervention in the built is a current topic and a theme of great relevance not only in the debate but also in contemporary architectural practice. However, in spite of being a recurrent topic of discussion its presentation in architectural publications is often of general nature, leaving behind a deeper analysis of the constructive order and detail options, in their relation with conceptual options.Using theoretical tools and case studies, this dissertation aims to examine issues related to interventions in existing buildings in a contemporary context, introducing a different perspective of analysis and interpretation, in the sense of understanding the work in a wider scope; this is, from the concept to the detail.For a better framework of the analysed works, it was essential to discuss themes related to the contemporary thought about heritage, theories of intervention, the problem of the relationship new-old, and also tectonic, construction and detail aspects ( like material, joint and detail).A intervenção no construído é um tema de grande atualidade e relevância no debate e na prática arquitetónica contemporânea. No entanto, apesar de ser alvo de recorrente discussão, a sua apresentação em publicações de arquitetura é muitas vezes de carácter global, não sendo aprofundadas opções de ordem construtiva e de pormenor, na sua relação com as opções conceptuais.Com recurso a ferramentas teóricas e estudo de casos, propõe-se investigar questões relativas à intervenção no construído em contexto contemporâneo, introduzindo uma diferente perspetiva de análise e interpretação, no sentido de compreender a obra de forma mais abrangente, ou seja, do conceito ao pormenor.Para um melhor enquadramento das obras analisadas, revelou-se essencial abordar temas relacionados com o pensamento contemporâneo sobre o património, as teorias da intervenção no construído, o problema da relação novo-antigo, e ainda aspetos de tectónica, construção e pormenor (como o material, junta e o detalhe).
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Chang, Hsiu-Chieh, and 張秀潔. "Making "Arts and Humanities” Accessible:A Study of the Correlation between Arts Learning Experiences and Interest in Arts." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/16154465585323096505.
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碩士臺北市立師範學院
視覺藝術研究所
91
The purpose of this study is to investigate the correlation between arts learning experiences and arts learning interest by taking the students at three Elementary School Teachers’ Training Programs in Taiwan as the sample. The contents of this study comprises two parts: first, literature reviews of training courses for elementary school teachers, art education theories and art education in Taiwan; second, a cross-reference study based on some random interviews of students from the three teachers’ training programs under investigation as well as the statistic results of a questionnaire for students at three Elementary School Teachers’ Training Programs through such statistic tools as SPSS and SAS. The conclusions drawn from the research can be summarized as follows:1.The majority of the students investigated are still interested in taking up arts related activities, among which reading articles about arts comes first and making up a work of art the last. 2.By comparing and contrasting how students from three different schools respond to arts differently after taking courses from different art teachers, it is found that students would show more interest in arts if they have been properly instructed and encouraged in a well designed and conducted art class.3.The period of their elementary school life is seen by most students as the most significant one in their past learning experiences with arts.4.An overwhelming majority of the students investigated value the importance of having a good art teachers more than the other factors that also influence their interests in arts.5.In their learning experiences with arts at School Teachers’ Training Program, students are motivated by such factors as the contingencies of the teaching materials, the diversity of the contents, the systematic and organized teaching as well as an impartial evaluation from the teacher who has professionalism and accommodating character.6. In the category of what characteristics a good art teacher would affect students’ interest in arts, the calls for the teacher’s professionalism and fair treatment of students are addressed.7. As far as the subject matter of an art class is concerned, students appear better motivated by the things that they can relate to their day-to-day lives. 8. In the correlation between teacher’s teaching strategies and students’ motivation for learning, whether the teacher is accommodating and able to instruct logically and efficiently so as to help students build up a sense of achievement is highly valued. 9. The influence of class management upon learning motivation is intensified by a warm and liberal class setting and the teacher’s sense of humor and wit.10. There is a positive correlation between arts learning experiences and arts learning interest.
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Hsia, Shin-Hui, and 夏歆惠. "Department of Arts and Design College of Humanities and Arts." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/5rkpw6.
Full textAbstract:
碩士國立臺北教育大學
藝術與造形設計學系教學碩士班
104
I lived my childhood with my parents and the army in the territory called Golden Triangle where was surrounded by three nations , Thailand , Burma and Laos. The place was wonderful and dreamlike paradise. It was covered with original forests and rivers. Now , those images are still vivid in my heart. After clarifying my motivations, initial intentions , the relationship between creation , and creation is similar with birth of life. The work would become an independent being ofter being created and these works that praise for the beauty of life the objects other than human. These independent works could explore the depths of my heart. Finally I would introspect myself to explore painting as the creative works, and presented to the works. After experienced long lest repression , I am desperate to express my feeling through acrylic painting. The reason why I relected acrylic painting is its nature technigue which can be earily applied to my three painting series , alien land , festive autum and memory of lotus.
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Antunes, Beatriz Kol de Carvalho Eiras. "Arts entrepreneurship : how to become a successful visual arts entrepreneur?" Master's thesis, 2017. http://hdl.handle.net/10400.14/25382.
Full textAbstract:
Arts entrepreneurship is an emergent subject of study, which definition is still not consensual.
However, the context of action for artistic professions is commonly understood as challenging.
To face the obstacles of arts entrepreneurs, literature already includes supportive frameworks for
the independent activities. Nonetheless, research papers and models about the subject are still
scarce, due to the recency of Creative and Cultural Industries. Moreover, there is a lack of studies
approaching specific subsegments of the artistic field.
Considering the relevance of the visual arts segment, for creative and modern economies, the
following study aims to provide additional research and develop guidance to support visual arts
entrepreneurship. Thus, by reviewing the already existent guiding models for arts entrepreneurship,
and by drawing a multiple case research on successful visual artists, a new conceptual model arises
to support forced or aspiring visual arts ventures.
The new framework results from a cross-case analysis of semi-structured interviews, conducted to
nine sustainable visual arts entrepreneurs. The data collected allowed to assess the main challenges,
motivations and strategies behind the artists’ success. Thus, considering the gathered information,
a new supportive framing for visual arts entrepreneurship identifies a set of key helpful mechanisms
for success: from specific entrepreneurial actions (within Creativity, Network and Business
elements) to required entrepreneurial mindset.
This study advances theoretical understanding on arts entrepreneurship and provides helpful tools
to assist future generations of visual arts entrepreneurs.O empreendorismo artístico é um tema de estudo recente, cuja definição ainda não é consensual. Contudo, o contexto de ação de artistas profissionais e empreendedores é comumente entendido como desafiante. Para responder aos obstáculos dos artistas empreendedores, a literatura já reúne modelos de apoio para as atividades independentes. Não obstante, o número de estudos e modelos desenvolvidos é reduzido, devido à recência das Indústrias Culturais e Criativas. Adicionalmente, existe uma escassez na pesquisa e estudos sobre os subsegmentos do campo artístico. Tendo em conta a relevância do segmento das artes visuais para as economias modernas e criativa, esta tese pretender desenvolver um sistema para ajudar artistas visuais, forçados ou aspirantes empreendedores. Com base na observação de modelos auxiliares existentes na literatura, e através da investigação de múltiplos casos de artistas visuais empreendedores bem-sucedidos, um novo modelo de apoio é desenvolvido. O novo modelo conceptual é resultado da observação de nove casos de artistas visuais empreendedores e bem-sucedidos, possibilitada por meio de entrevistas semiestruturadas. Os dados recolhidos permitiram compreender os maiores desafios, motivações e estratégias responsáveis pelo sucesso dos artistas. Assim, com base na informação recolhida, uma nova estrutura de suporte para as artes visuais identifica uma série de mecanismos chave para o sucesso: desde especificas ações empreendedoras (relacionadas com criatividade, rede e gestão) à definição da atitude necessária a ter para o sucesso. Este estudo pretende aprofundar o entendimento sobre o empreendorismo artístico e proporcionar ferramentas úteis para auxiliar futuras gerações de artistas visuais.
30
Gamlen, Andrew. "Submission for Master of Arts (Electronic Arts) in computer animation." Master's thesis, 1996. http://hdl.handle.net/1885/155750.
Full text
31
Leal, Miguel. "A imaginação cega: mecanismos de indeterminação na prática artística contemporânea." Doctoral thesis, 2009. https://repositorio-aberto.up.pt/handle/10216/56636.
Full textAbstract:
Este é um estudo sobre um certo impensado da arte que se associa à presença do acaso e da indeterminação. O seu assunto é portanto o instante em que a vontade do artista e a precisão dos seus instrumentos deixam de definir a previsibilidade das suas acções - ainda que apenas como gesto de enunciação ou artificialização do acaso. Tomaram-se como ponto de partida os regimes das artes plásticas onde se combinam elementos aleatórios e acções planeadas, imprevisibilidade e determinismo, acaso e controlo, para assim se questionar o carácter aporético de um jogo estético que conjuga a surpresa absoluta com a sua antecipação metodológica e processual.Como enfrentar então os resultados daquilo que é impensado e inesperado no pensamento da arte? Quais os elementos distintivos, na prática artística actual, da presença do acaso e do indeterminado nos mecanismos processuais da arte?Assumindo que a arte é coisa feita do seu próprio fazer, começamos por propor a noção de jogo quase-ideal - a partir de uma releitura de Deleuze - para definir o acaso da arte como operativo, articulando a plasticidade, a experimentação e a imaginação como seus motores. A imaginação cega surge assim apenas como um outro nome para a experimentação tacteante através da qual se acede ao próprio impensado da arte. Como a cegueira operativa da arte resulta da imprevisibilidade dos seus media, das suas máquinas, os mecanismos de indeterminação da prática artística acabam por coincidir com os específicos processos maquínicos da experimentação estética.Sugere-se depois, de acordo com Agamben, que só na era da ubiquidade da técnica pode a arte pensar radicalmente os seus media, tornando-os (in)operativos, e considera-se o princípio de uma medialidade pura que se inscreve no seio da experimentação estética, isto é, o princípio de uma arte que se mostra capaz de experimentar até ao limite os seus media. A disfuncionalidade maquínica e a obsolescência dos media serão pois duas das principais modalidades de indução dessa vertigem que leva as coisas a gaguejar e a reagir de forma inesperada e surpreendente. Dando corpo à figura quase perfeita de uma máquina que produz e faz produzir - uma máquina de partilha e interferência que o artista se deve abster de impedir ou controlar, porquanto as coisas importantes acontecem sempre de forma surpreendente, nunca onde as esperamos -, chamamos inconsciente tecnológico a esse grau de indeterminação e surpresa que é reserva das máquinas.Em resposta à vontade declarada de centrar a análise nos genuínos processos operativos do fazer-pensar da arte, introduzem-se ao longo de todo o trabalho vários casos de estudo, da tradição clássica das imagens acidentais a Alexander Cozens ou de August Strindberg a Duchamp, para se chegar finalmente a uma discussão destes problemas do ponto de vista da arte contemporânea.Conclui-se deste estudo que a tecnologia é, ou pode ser, o terreno do impensado, do aleatório e do inesperado, constituindo-se como elo de ligação entre a experimentação, a plasticidade e a imaginação cega de que se alimenta a arte. A atenção - fascinada ou desfascinada - dispensada pela arte às suas máquinas e respectivos mecanismos de indeterminação define assim, em termos operativos, um dos mais importantes elementos distintivos da presença do acaso na prática artística actual.This is a study about a certain unthought in art which is associated with the presence of chance and indetermination. Its subject is therefore the instant in which the artist's intention and the precision of his tools cease to define the predictability of his own actions - even if only as a gesture of enunciation or artificialisation of chance. Focusing on those visual arts that bring together random elements and planned actions, unpredictability and determinism, chance and control, we try to question the aporetic nature of an aesthetic game that combines absolute surprise with its methodological and processual anticipation.How should we approach the results of what is unthought and unexpected in art and its thought? What are the distinctive features in contemporary artistic practice of the presence of chance and indetermination in the processual mechanisms of art?Assuming that art is something made from its own making, our first step is to propose the notion of almost-ideal game - based on a rereading of Deleuze - to define chance in art as operative, coordinating plasticity, experimentation and imagination as its motors. Blind imagination thus emerges simply as another name for the hesitant experimentation through which the unthought in art is accessed. As the operative blindness of art results from the unpredictability of its media, of its machines, the mechanisms of indetermination in artistic practice actually coincide with the specific machinic processes of aesthetic experimentation.It is then suggested, in line with Agamben, that only in an era of ubiquitous technique can art radically think its media, making them (in)operative; consideration is also given to the principle of a pure mediality which is grounded on aesthetic experimentation or, in other words, to the principle of an art that shows itself capable of testing its media to the limit. Machinic dysfunctionality and the obsolescence of the media are thus two of the main ways of inducing that vertigo that makes things stutter and react unexpectedly and surprisingly. Embodying the almost perfect figure of a machine that produces and induces production - a machine of sharing and interference that the artist must not hamper or control, since important things always happen in a surprising way, never where we expect them -, we give the name technological unconscious to this degree of indetermination and surprise that is the reserve of any machine.In response to the declared intention of focusing analysis on the genuine operative processes of doing-thinking in art, case studies are presented throughout the work, from the classical tradition of accidental images to Alexander Cozens or from August Strindberg to Duchamp, finally arriving at discussion on the problems posed by this thesis regarding the field of contemporary art.It can be concluded from this study that technology offers, or can offer, fertile terrain for the unthought, for the random and for the unexpected, linking those vital ingredients of art which are experimentation, plasticity and blind imagination. The attention - fascinated or defascinated - paid by art to its machines and their mechanisms of indetermination thus defines, in operative terms, one of the most important distinctive features of the presence of chance in current artistic practice.
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Teixeira, Joaquim. "Salvaguarda e Valorização do Edificado Habitacional da Cidade Histórica. Metodologia de Intervenção no Sistema Construtivo da Casa Burguesa do Porto." Tese, 2014. https://repositorio-aberto.up.pt/handle/10216/72899.
Full text
33
Leal, Miguel. "A imaginação cega: mecanismos de indeterminação na prática artística contemporânea." Tese, 2009. https://repositorio-aberto.up.pt/handle/10216/56636.
Full textAbstract:
Este é um estudo sobre um certo impensado da arte que se associa à presença do acaso e da indeterminação. O seu assunto é portanto o instante em que a vontade do artista e a precisão dos seus instrumentos deixam de definir a previsibilidade das suas acções - ainda que apenas como gesto de enunciação ou artificialização do acaso. Tomaram-se como ponto de partida os regimes das artes plásticas onde se combinam elementos aleatórios e acções planeadas, imprevisibilidade e determinismo, acaso e controlo, para assim se questionar o carácter aporético de um jogo estético que conjuga a surpresa absoluta com a sua antecipação metodológica e processual.Como enfrentar então os resultados daquilo que é impensado e inesperado no pensamento da arte? Quais os elementos distintivos, na prática artística actual, da presença do acaso e do indeterminado nos mecanismos processuais da arte?Assumindo que a arte é coisa feita do seu próprio fazer, começamos por propor a noção de jogo quase-ideal - a partir de uma releitura de Deleuze - para definir o acaso da arte como operativo, articulando a plasticidade, a experimentação e a imaginação como seus motores. A imaginação cega surge assim apenas como um outro nome para a experimentação tacteante através da qual se acede ao próprio impensado da arte. Como a cegueira operativa da arte resulta da imprevisibilidade dos seus media, das suas máquinas, os mecanismos de indeterminação da prática artística acabam por coincidir com os específicos processos maquínicos da experimentação estética.Sugere-se depois, de acordo com Agamben, que só na era da ubiquidade da técnica pode a arte pensar radicalmente os seus media, tornando-os (in)operativos, e considera-se o princípio de uma medialidade pura que se inscreve no seio da experimentação estética, isto é, o princípio de uma arte que se mostra capaz de experimentar até ao limite os seus media. A disfuncionalidade maquínica e a obsolescência dos media serão pois duas das principais modalidades de indução dessa vertigem que leva as coisas a gaguejar e a reagir de forma inesperada e surpreendente. Dando corpo à figura quase perfeita de uma máquina que produz e faz produzir - uma máquina de partilha e interferência que o artista se deve abster de impedir ou controlar, porquanto as coisas importantes acontecem sempre de forma surpreendente, nunca onde as esperamos -, chamamos inconsciente tecnológico a esse grau de indeterminação e surpresa que é reserva das máquinas.Em resposta à vontade declarada de centrar a análise nos genuínos processos operativos do fazer-pensar da arte, introduzem-se ao longo de todo o trabalho vários casos de estudo, da tradição clássica das imagens acidentais a Alexander Cozens ou de August Strindberg a Duchamp, para se chegar finalmente a uma discussão destes problemas do ponto de vista da arte contemporânea.Conclui-se deste estudo que a tecnologia é, ou pode ser, o terreno do impensado, do aleatório e do inesperado, constituindo-se como elo de ligação entre a experimentação, a plasticidade e a imaginação cega de que se alimenta a arte. A atenção - fascinada ou desfascinada - dispensada pela arte às suas máquinas e respectivos mecanismos de indeterminação define assim, em termos operativos, um dos mais importantes elementos distintivos da presença do acaso na prática artística actual.This is a study about a certain unthought in art which is associated with the presence of chance and indetermination. Its subject is therefore the instant in which the artist's intention and the precision of his tools cease to define the predictability of his own actions - even if only as a gesture of enunciation or artificialisation of chance. Focusing on those visual arts that bring together random elements and planned actions, unpredictability and determinism, chance and control, we try to question the aporetic nature of an aesthetic game that combines absolute surprise with its methodological and processual anticipation.How should we approach the results of what is unthought and unexpected in art and its thought? What are the distinctive features in contemporary artistic practice of the presence of chance and indetermination in the processual mechanisms of art?Assuming that art is something made from its own making, our first step is to propose the notion of almost-ideal game - based on a rereading of Deleuze - to define chance in art as operative, coordinating plasticity, experimentation and imagination as its motors. Blind imagination thus emerges simply as another name for the hesitant experimentation through which the unthought in art is accessed. As the operative blindness of art results from the unpredictability of its media, of its machines, the mechanisms of indetermination in artistic practice actually coincide with the specific machinic processes of aesthetic experimentation.It is then suggested, in line with Agamben, that only in an era of ubiquitous technique can art radically think its media, making them (in)operative; consideration is also given to the principle of a pure mediality which is grounded on aesthetic experimentation or, in other words, to the principle of an art that shows itself capable of testing its media to the limit. Machinic dysfunctionality and the obsolescence of the media are thus two of the main ways of inducing that vertigo that makes things stutter and react unexpectedly and surprisingly. Embodying the almost perfect figure of a machine that produces and induces production - a machine of sharing and interference that the artist must not hamper or control, since important things always happen in a surprising way, never where we expect them -, we give the name technological unconscious to this degree of indetermination and surprise that is the reserve of any machine.In response to the declared intention of focusing analysis on the genuine operative processes of doing-thinking in art, case studies are presented throughout the work, from the classical tradition of accidental images to Alexander Cozens or from August Strindberg to Duchamp, finally arriving at discussion on the problems posed by this thesis regarding the field of contemporary art.It can be concluded from this study that technology offers, or can offer, fertile terrain for the unthought, for the random and for the unexpected, linking those vital ingredients of art which are experimentation, plasticity and blind imagination. The attention - fascinated or defascinated - paid by art to its machines and their mechanisms of indetermination thus defines, in operative terms, one of the most important distinctive features of the presence of chance in current artistic practice.
34
Santos, João Daniel Osório dos. "Social Environment for Arts Education and Research." Master's thesis, 2015. https://repositorio-aberto.up.pt/handle/10216/83516.
Full textAbstract:
Os ambientes de aprendizagem atuais seguem uma organização tradicional, onde há alguém responsável pelo controlo da plataforma, o administrador, alguém responsável pelos conteúdos disponibilizados, o professor, e alguém para absorver o conhecimento transmitidos pelo professor, os alunos. Este sistema nega aos estudantes a oportunidade de compartilhar os seus conhecimentos e contribuir para o ambiente de aprendizagem.Discutir os resultados de investigação e trabalhos realizados é uma das atividades mais benéficas para a melhoria das capacidades dos estudantes de artes, bem como os ajuda a expressar melhor os seus pensamentos e ideias. As limitações impostas pelos ambientes de aprendizagem impedem os estudantes de partilhar os seus trabalhos, especialmente no caso de partilha de diferentes conteúdos multimédia, tais como imagens, vídeo e ficheiros de áudio.Os Ambientes de Aprendizagem Pessoal (PLEs) podem superar a maioria das dificuldades dos ambientes de aprendizagem atuais, no entanto, as ferramentas estão dispersas por diferentes plataformas e ninguém usa as mesmas ferramentas, dificultando a colaboração e partilha de conteúdo entre indivíduos.Nesta dissertação exploramos a oportunidade de criar um ambiente de aprendizagem social, a fim de superar a maioria das lacunas dos sistemas de gestão de aprendizagem e para reduzir a necessidade de utilizar ferramentas dispersas, das quais os ambientes de aprendizagem pessoais dependem. Isto permitirá aos alunos compartilhar diferentes conteúdos multimédia entre eles, permitindo que o seu trabalho seja visto e usado pela comunidade e, ao mesmo tempo, desenvolver o pensamento crítico. Além disso, o problema de comunicação entre os alunos a partir de locais remotos e de ensino à distância é também abordado aqui.Para construir este ambiente social, Drupal, um Sistema de Gerenciamento de Conteúdo (CMS), está a ser utilizado, o que nos permitirá estender as suas funcionalidades, de modo a ser capaz de permitir que os alunos compartilhem o seu trabalho em grupos, contribuindo com o seu conhecimento e permitindo-lhes postar conteúdo e comunicar de uma forma mais conveniente. Diferentes abordagens de como estender a implementação do Drupal são estudadas, e os seus benefícios e desvantagens são comparados.A plataforma final foi testada por membros do NEA (Núcleo de Educação Artística), uma organização que atua na educação e investigação artística, e mais tarde por alunos de seus cursos. Como esperado, esta solução irá ajudar a alcançar uma comunicação mais eficiente entre os alunos, permitindo uma partilha mais fácil de conteúdos, despertando a criatividade e raciocínio crítico dos mesmos, removendo a necessidade de utilizar diferentes ferramentas localizadas em ambientes dispersos. No entanto, esta solução não visa substituir as ferramentas para criação e edição de conteúdo. Também foi provado que esta solução serve de apoio à educação à distância e deixa em aberto a possibilidade de usá-la para Cursos Online Massivos e Abertos (MOOC).Current learning environments follow a traditional organization where there is someone in control, the administrator, someone responsible for the content available, the teacher, and then someone to absorb the knowledge transmitted by the professor, the learners. This system denies students the opportunity to share their knowledge and contribute to the learning environment.Discussion about research results and work done is one of the most beneficial activities to improve art student's capacities and helps them express their thoughts and ideas. Limitations imposed by the learning environments prevent students from sharing their work, especially to share different multimedia contents such as images, video and audio files.Personal Learning Environments (PLEs) can overcome most difficulties of current learning environments, however, tools are spread in different platforms and no one uses the same tools, difficulting collaboration and content sharing between individuals.In this dissertation we explore the opportunity to create a social learning environment in order to overcome most learning management systems handicaps and to shorten the need for disperse tools in which personal learning environments depends. This will allow students to share different multimedia content with each other, enabling their work to be seen and used by the community and, at the same time, improving critical thinking. Furthermore, the problem of communication between students from remote locations and distance learning is also addressed.In order to accomplish such environment, Drupal, a Content Management System (CMS), is being used, which will allow us to extend its functionalities in order to be able to allow students to share their work in groups, to contribute with their knowledge allowing them to post content and to communicate in a more convenient way. Different approaches to how to enchant Drupal are studied and their benefits and downsides are compared. The final platform has been tested by members of NEA (Núcleo de Educação Artística), an organization which takes action in arts education and investigation, and later by students from their courses. As expected, this solution will help achieve a higher communication between students, allowing easier sharing of contents and awake creativity and critical sense, removing the necessity to use different tools located in different environments, however it will not substitute tools for content creation and editing. It was also proven that this solution can suite distance education and even the possibility to use it for Massive Online Open Courses (MOOC) is left open.
35
Santos, João Daniel Osório dos. "Social Environment for Arts Education and Research." Dissertação, 2015. https://repositorio-aberto.up.pt/handle/10216/83516.
Full textAbstract:
Os ambientes de aprendizagem atuais seguem uma organização tradicional, onde há alguém responsável pelo controlo da plataforma, o administrador, alguém responsável pelos conteúdos disponibilizados, o professor, e alguém para absorver o conhecimento transmitidos pelo professor, os alunos. Este sistema nega aos estudantes a oportunidade de compartilhar os seus conhecimentos e contribuir para o ambiente de aprendizagem.Discutir os resultados de investigação e trabalhos realizados é uma das atividades mais benéficas para a melhoria das capacidades dos estudantes de artes, bem como os ajuda a expressar melhor os seus pensamentos e ideias. As limitações impostas pelos ambientes de aprendizagem impedem os estudantes de partilhar os seus trabalhos, especialmente no caso de partilha de diferentes conteúdos multimédia, tais como imagens, vídeo e ficheiros de áudio.Os Ambientes de Aprendizagem Pessoal (PLEs) podem superar a maioria das dificuldades dos ambientes de aprendizagem atuais, no entanto, as ferramentas estão dispersas por diferentes plataformas e ninguém usa as mesmas ferramentas, dificultando a colaboração e partilha de conteúdo entre indivíduos.Nesta dissertação exploramos a oportunidade de criar um ambiente de aprendizagem social, a fim de superar a maioria das lacunas dos sistemas de gestão de aprendizagem e para reduzir a necessidade de utilizar ferramentas dispersas, das quais os ambientes de aprendizagem pessoais dependem. Isto permitirá aos alunos compartilhar diferentes conteúdos multimédia entre eles, permitindo que o seu trabalho seja visto e usado pela comunidade e, ao mesmo tempo, desenvolver o pensamento crítico. Além disso, o problema de comunicação entre os alunos a partir de locais remotos e de ensino à distância é também abordado aqui.Para construir este ambiente social, Drupal, um Sistema de Gerenciamento de Conteúdo (CMS), está a ser utilizado, o que nos permitirá estender as suas funcionalidades, de modo a ser capaz de permitir que os alunos compartilhem o seu trabalho em grupos, contribuindo com o seu conhecimento e permitindo-lhes postar conteúdo e comunicar de uma forma mais conveniente. Diferentes abordagens de como estender a implementação do Drupal são estudadas, e os seus benefícios e desvantagens são comparados.A plataforma final foi testada por membros do NEA (Núcleo de Educação Artística), uma organização que atua na educação e investigação artística, e mais tarde por alunos de seus cursos. Como esperado, esta solução irá ajudar a alcançar uma comunicação mais eficiente entre os alunos, permitindo uma partilha mais fácil de conteúdos, despertando a criatividade e raciocínio crítico dos mesmos, removendo a necessidade de utilizar diferentes ferramentas localizadas em ambientes dispersos. No entanto, esta solução não visa substituir as ferramentas para criação e edição de conteúdo. Também foi provado que esta solução serve de apoio à educação à distância e deixa em aberto a possibilidade de usá-la para Cursos Online Massivos e Abertos (MOOC).Current learning environments follow a traditional organization where there is someone in control, the administrator, someone responsible for the content available, the teacher, and then someone to absorb the knowledge transmitted by the professor, the learners. This system denies students the opportunity to share their knowledge and contribute to the learning environment.Discussion about research results and work done is one of the most beneficial activities to improve art student's capacities and helps them express their thoughts and ideas. Limitations imposed by the learning environments prevent students from sharing their work, especially to share different multimedia contents such as images, video and audio files.Personal Learning Environments (PLEs) can overcome most difficulties of current learning environments, however, tools are spread in different platforms and no one uses the same tools, difficulting collaboration and content sharing between individuals.In this dissertation we explore the opportunity to create a social learning environment in order to overcome most learning management systems handicaps and to shorten the need for disperse tools in which personal learning environments depends. This will allow students to share different multimedia content with each other, enabling their work to be seen and used by the community and, at the same time, improving critical thinking. Furthermore, the problem of communication between students from remote locations and distance learning is also addressed.In order to accomplish such environment, Drupal, a Content Management System (CMS), is being used, which will allow us to extend its functionalities in order to be able to allow students to share their work in groups, to contribute with their knowledge allowing them to post content and to communicate in a more convenient way. Different approaches to how to enchant Drupal are studied and their benefits and downsides are compared. The final platform has been tested by members of NEA (Núcleo de Educação Artística), an organization which takes action in arts education and investigation, and later by students from their courses. As expected, this solution will help achieve a higher communication between students, allowing easier sharing of contents and awake creativity and critical sense, removing the necessity to use different tools located in different environments, however it will not substitute tools for content creation and editing. It was also proven that this solution can suite distance education and even the possibility to use it for Massive Online Open Courses (MOOC) is left open.
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Chih-hsien, Chang, and 張誌顯. "Hsinchu museum of arts and digital arts/ News_MAP/ the city permeation." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/99050050605113466933.
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Padrão, Ana Margarida Carneiro de Sá. "Espaço & Mente: Por um locus interdisciplinar. A Arquitectura no processo terapêutico." Dissertação, 2014. http://hdl.handle.net/10216/76798.
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Dias, Tales Frey. ""Discursos críticos através da poética visual de Marcia X"." Dissertação, 2010. http://hdl.handle.net/10216/74810.
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Duarte, Maria Inês Lourenço. "Aprender na complexidade: diálogos entre escola e cidade." Master's thesis, 2021. https://hdl.handle.net/10216/136090.
Full textAbstract:
A arquitetura, devido ao seu caráter simbólico, influencia a construção da consciência
individual e coletiva acerca do mundo, podendo, portanto, estabelecer-se como
ferramenta para a educação da sociedade.
O arquiteto tem então a responsabilidade de observar os espaços que concebe e refletir
acerca das mensagens que transmite. Esta investigação parte do olhar sobre as escolas
e as cidades contemporâneas, que, enquanto espaços coletivos, são especialmente
significativos na aprendizagem social. Por um lado, as escolas mantêm-se ligadas a
práticas obsoletas que restringem o ensino ao interior da sala de aula. Os seus recintos,
ao isolarem-se da cidade, impedem a integração natural da escola na vida humana,
transmitindo às crianças e aos habitantes, que não se relacionam com o seu espaço,
a segregação e a discriminação. Por outro lado, as cidades, onde o espaço público
representa cada vez menos uma identidade coletiva, procuram progressivamente a
simplificação através da instauração de territórios homogéneos, alimentando uma
cultura do medo onde as crianças são especialmente prejudicadas.
As escolas e as cidades têm, contudo, na sua complexidade, isto é, na diversidade de
pessoas, atividades e ideias que as habitam e percorrem, uma oportunidade para se
estabelecer como espaços educativos por excelência, que abrem o caminho para uma
sociedade realmente democrática. Portanto, é na abertura dos seus espaços e na diluição
de quaisquer limites, que procuram impor preconceitos e determinar o entendimento
do mundo, que reside o caminho para o conhecimento e reconhecimento da realidade
e, assim, para a consciência.
A escola e a cidade, enquanto espaços exemplares na educação da sociedade, devem
visar, portanto, o diálogo, estabelecendo entre si fronteiras onde o contacto e a partilha
se intensificam e tornam motivo de aprendizagem. Por um lado, os recursos, humanos
e materiais, presentes na cidade permitem enriquecer a educação na escola. Por
outro, a escola tem a capacidade e a responsabilidade de abrir-se a toda a população,
concretizando o direito universal e a natureza permanente do aprender, quer no
tempo, quer no espaço. Desde a escala urbana à escala humana, o desenho dos seus
espaços não pode, então, dissociar-se, surgindo como oportunidade para repensar os
espaços da comunidade, reunida com o objetivo de aprendizagem.Architecture, due to its symbolic character, influences the construction of individual and collective consciousness of the world, and can therefore be established as a tool for the education of society. The architect is then responsible for observing the spaces he designs and reflecting on the messages it conveys. This investigation starts by looking at contemporary schools and cities, which, as collective spaces, are especially significant in social learning. On the one hand, schools remain tied to obsolete practices that restrict education to the interior of the classroom. By isolating themselves from the city, their sites prevent the natural integration of the school into human life, conveying segregation and discrimination values to the children and the inhabitants that are unable to relate to their space. On the other hand, cities, where the public space represents less and less a collective identity, progressively seek simplification by establishing homogeneous territories, fostering a culture of fear where children are particularly affected. Schools and cities have, however, in their complexity - the diversity of people, activities and ideas that inhabit and run through them - an opportunity to establish themselves as privileged educational spaces, which can pave the way for a truly democratic society. Therefore, it is in the openness of their spaces and the dilution of any limits that seek to impose prejudices and determine the understanding of the world that lies the path to the knowledge and recognition of reality and, thus, to consciousness. The school and the city, as exemplary spaces in the education of society, should then aim for dialogue, establishing borders between them, where contact and sharing intensify and become a reason for learning. On the one hand, the human and material resources present in the city can enrich education at school. On the other hand, the school has the ability and the responsibility to open to the whole population, making the universal right and the permanent nature of education a reality, both in time and space. From the urban scale to the human scale, the design of its spaces cannot be dissociated, emerging instead as an opportunity to rethink the spaces of the community, gathered for the purpose of learning.
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Frio, Juliana de Azevedo. "Arquitetura Brasileira e Portuguesa Contemporânea - Um estudo de quatro residências unifamiliares do início do séc. XXI no Brasil e em Portugal." Dissertação, 2019. https://hdl.handle.net/10216/136137.
Full textAbstract:
A presente dissertação tem como temática principal a casa contemporânea unifamiliar do início do séc. XXI, no Brasil e em Portugal. O objeto de estudo são quatro casas, sendo duas portuguesas: a Casa RF do arquiteto Nuno Graça Moura, e a Casa em Macinhata do arquiteto Nuno Brandão Costa, e duas brasileiras: a Casa Bacopari do Una Arquitetos, e a Casa no Morro do Querosene do Grupo SP.
Os principais objetivos do trabalho são analisar e comparar as estratégias projetuais aplicadas nas obras, e traçar um paralelo entre a forma como os arquitetos portugueses e brasileiros resolvem o tema da casa.
O desenvolvimento deste estudo, se dá através de três discussões principais: a casa e o sítio, as relações interior/exterior, e a fachada - a casa desenhada de dentro para fora versus a casa desenhada de fora para dentro. Para fundamentar essas análises, foram consideradas as contribuições de Christian Norberg-Schulz, Álvaro Siza e Aldo Rossi, sobre a relação da casa com o lugar, Adolf Loos e Le Corbusier através da obra de Beatriz Colomina sobre as relações interior/exterior, e Robert Venturi para discutir a importância da fachada.
Além da bibliografia relacionada, as entrevistas realizadas com os arquitetos responsáveis pelas obras estudadas, serviram de fio condutor para apresentar as casas e perceber as intenções e estratégias adotadas pelos arquitetos em cada caso.
Por fim, compreendeu-se que apesar de possuírem algumas semelhanças, que são reflexos da temporalidade contemporânea, a resolução de algumas problemáticas da casa, tenderam a seguir premissas culturais distintas, respectivas à cada país.The main theme of the present dissertation is the contemporary single-family house of the early twenty-first century in Brazil and in Portugal. The research object concerns of four houses, two Portuguese: the RF House by Architect Nuno Graça Moura, and the House in Macinhata by Architect Nuno Brandão Costa, and two Brazilian: the Bacopari House by Una Arquitetos, and the House in Morro do Querosene by Grupo SP. The main objective of this study is to analyse and compare the design strategies applied in each of the buildings, and to draw a parallel between the way Portuguese and Brazilian architects have solved the theme of the house. In order to achieve the proposed objectives, three main discussions are developed: the house and the place, the interior / exterior relations, and the facade - the house drawn from the inside out versus the house drawn from the outside in. These discussions are supported by the contributions of Christian Norberg-Schulz, Álvaro Siza and Aldo Rossi about the relationship of the house with the place, Adolf Loos and Le Corbusier through Beatriz Colomina's work about the interior / exterior relations, and Robert Venturi on the importance of the facade. In addition to the analysed bibliography, interviews were conducted with the architects responsible for the studied works, guide the presentation of the houses and the understanding of the intentions and strategies they have adopted in each case. Finally, it is understood that despite having some similarities, which are reflections of their contemporary temporality, the solutions of some problems of the house tended to follow different cultural premises, accordingly to the context of each country.
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Taveira, João Miguel Montenegro Cardoso Branco. "Entre o natural e o artificial. Projeto na quinta dos lagares." Dissertação, 2021. https://hdl.handle.net/10216/136140.
Full textAbstract:
O presente trabalho procura uma abordagem ao processo de projeto através da possibilidade de abertura da Quinta dos Lagares no Alto Douro, de produção vínicola à habitação, sugerindo uma requalificação de partes da propriedade, a transformação de um conjunto de construções pré-existentes e reestruturação de outras infraestruturas.
A estratégia delineada é apresentada a partir de um leque de referências adequadas ao problema colocado e de desenhos ora esquemáticos, ora rigorosos que evidenciam o processo de trabalho e a evolução das propostas, sugerindo uma leitura que se pretende não ordenada e hierárquica, mas aberta, criando pontes e paralelismos entre os diferentes temas desenvolvidos.The present work seeks an approach to the design process through the possibility of opening Quinta dos Lagares in Alto Douro, from wine production to housing, suggesting a requalification of parts of the property, the transformation of a set of pre-existing buildings and the restructuring of other infrastructures. The strategy outlined is presented based on a range of appropriate references to the problem posed and schematic and rigorous drawings that show the work process and the evolution of the proposals, suggesting a reading that is intended to be unordered and hierarchical, but open, creating bridges and parallels between the different themes developed.
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Zan, Cristiano Catanzaro. "Habitação Colaborativa: ensaio num lote da Rua de Dom João IV na cidade do Porto." Dissertação, 2020. https://hdl.handle.net/10216/136141.
Full textAbstract:
A presente dissertação foi desenvolvida a partir de uma extensa pesquisa sobre os modos de
habitar coletivos e alternativos aos seus contemporâneos. Em uma primeira parte, o trabalho
traça uma linha evolutiva criando relações e interligações desde os socialistas utópicos do
início do século XIX às primeiras comunidades cohousing fundadas na segunda metade do
século XX. A exemplo disso, podem ser citados: New Lanark, Phalanstère, Familistère, Edifícios com cozinha central, Narkomfin, Cidades-Jardim, Hufeisensiedlung, Kibbutz, Muro
de Berlim, Oscar-Niemeyer-Haus, Unité D'Habitation, Conservatização da sociedade do
pós-guerra, Suburbanização, Hippies, Manifestações de 68, Freetown Christiania, Ocupações ilegais em Zurique, Saettedammen, Skraplanet, Stacken, Autonomes Jugendzentrum,
Karthago, Dreieck, Kalkbreite, Zollhaus, e finalmente a cidade do Porto.
No percurso escolhido, os temas e edifícios acima relacionados elucidaram a linha evolutiva do pensamento e dos aspectos sociais de cada uma dessas iniciativas e experimentos,
destacando a resposta arquitetônica à demanda social pela vida e convívio em comunidade.
A habitação colaborativa é uma entre as inúmeras linhas e ramificações do modo de pensar
coletivo, a qual proporciona um convívio comunitário com base no compartilhamento de
espaços sociais, de bens, e a cooperação mútua entre as pessoas que escolhem esse modo de
habitar como uma alternativa para viver.
No fim, é proposto um ensaio projetual com o objetivo de responder arquitetonicamente a
uma hipotética ocupação de uma casa burguesa portuense, da segunda metade do século
XIX, por uma comunidade de habitação colaborativa.The dissertation was developed from an extensive research on collective and alternative ways of living to its contemporaries. In a first part, the work traces an evolutionary line creating relationships and interconnections from the utopian socialists of the early 19th century to the first cohousing communities founded in the second half of the 20th century. As an example, they can be cited: New Lanark, Phalanstère, Familistère, Central kitchen buildings, Narkomfin, Garden-Cities, Hufeisensiedlung, Kibbutz, Berlin Wall, Oscar-Niemeyer-Haus, Unité D'Habitation, Conservatization of the post-war society, Suburbanization, Hippies, Demonstrations of 68, Freetown Christiania, Illegal squatings in Zurich, Saettedammen, Skraplanet, Stacken, Autonomes Jugendzentrum, Karthago, Dreieck, Kalkbreite, Zollhaus, and finally the city of Porto. In the chosen route, the themes and buildings listed above elucidated the evolutionary line of thought and social aspects of each of these initiatives and experiments, highlighting the architectural response to the social demand for community life and coexistence. Collaborative housing is one among the many lines and ramifications of the collective way of thinking, which provides community living based on the sharing of social spaces, goods, and mutual cooperation among people who choose this way of living as an alternative. In the end, a project-oriented essay is proposed with the objective of architecturally responding to a hypothetical occupation of a Oporto's bourgeois house, from the second half of the 19th century, by a collaborative housing community.
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Pimenta, Fernando Luís Silva. "Não abastecer o aparelho produtivo sem o transformar. Sobre a condição política da produção e do ensino-aprendizagem em Arquitectura." Dissertação, 2020. https://hdl.handle.net/10216/136149.
Full textAbstract:
A presente dissertação aborda a condição disciplinar da arquitectura através das
suas estruturas produtiva e educativa, nomeadamente as relações entre prática
pedagógica e prática produtiva, seus processos de abastecimento e processos de
transformação.
O objecto de estudo é identificar, dissecar e analisar os aparelhos produtivo e educativo em arquitectura nas suas formas, princípios, métodos e resultados, revisitando e reconsiderando os seus desenvolvimentos até aos dias de hoje à luz da
sua condição política, exercitando a consideração do correspondente gerador -
escola-geradora -, laborando sobre a contradição entre o devir emancipatório e
a sua perspectivação no quadro da contemporaneidade.
É o trabalho apresentado resultado de investigação de base qualitativa, utilizando
métodos etnográficos e ferramentas de observação participante, sobre as questões da pedagogia e da instituição, com foco no caso da FAUP, relacionando com
a progressão do papel do arquitecto no estudo e no ofício, na escola e na cidade.
Conclui-se que, para a transformação das condições de aprendizagem e de produção em arquitectura, numa perspectiva libertadora e emancipatória, é indispensável o pensamento sobre as relações sociais de produção que conformam a
sociedade e o Estado.The current dissertation regards architecture's disciplinary condition through its productive and educational structures, namely the relations between pedagogical practice and productive practice, its supplying processes and transformation processes. Its study subject is to identify, dissect and analyse the productive and educational apparatus in Architecture via its shapes, principles, methods and results, revisiting and reconsidering its developments until today in light of its political condition, exercising the consideration of the corresponding generator - generator-school -, labouring on the contradiction between the emancipatory becoming and its perspective considering the overall contemporaneity. The current work is the result of a qualitative basis investigation, using ethnographic methods and tools of participating observation, on the matters of pedagogy and institution, focusing on the particular case of FAUP, relating to the progression of the role of the architect in study and work, at school and in the city. It is concluded that, towards the transformation of the conditions for learning and production in architecture, in a liberating and emancipatory perspective, it is imperative the thought on social relations of production which conform society and State.
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Silva, Francisco Manuel Sousa. "Bairro do Carvalhido no Porto. Projeto, Reabilitação e Valorização." Master's thesis, 2021. https://hdl.handle.net/10216/136191.
Full textAbstract:
A presente dissertação aprofunda o estudo sobre o Bairro do Carvalhido, na cidade
do Porto, analisando o seu ciclo de vida no tempo: i) projeto original, ii) reabilitação e
iii) perspetivas para a futura valorização em sentido lato, incluindo contributos para a
requalificação, de manutenção e de utilização.
O tema do trabalho enquadra-se na problemática mais alargada da gestão e reabilitação
contemporânea de edifícios habitação económica, da qual se apresentam e analisam alguns
exemplos no contexto nacional e internacional.
A metodologia do trabalho cruza fontes indiretas (informação textual, gráfica,
cartográfica, fotográfica) com fontes diretas (análise in situ e entrevistas). Com este suporte
metodológico, a análise do Bairro do Carvalhido é desenvolvida sob três vertentes: i)
urbana (envolvente e espaço público), ii) construtiva (sistemas construtivos, materiais e
infraestruturas) e iii) tipológica (zonas comuns e habitações).
O projeto original do Bairro do Carvalhido (1958) enquadrado no Plano de
Melhoramentos da Cidade do Porto (1956-1977) que o trabalho contextualiza sucintamente,
assim como os seus antecedentes.
Seguidamente, é analisada a reabilitação do Bairro do Carvalhido (2007-2018)
promovida pela Domus Social e que incide essencialmente no envolvente exterior dos edifícios
(coberturas, fachadas e caixilharias) e nas infraestruturas (redes de água, eletricidade, gás).
Por fim, apesar da intervenção recente (que, pela dotação orçamental disponível, não
foi abrangente e exaustiva), verificam-se atualmente diversos problemas no Bairro do
Carvalhido, designadamente no estado de conservação e na apropriação do edificado e espaço
público. Por conseguinte, o presente trabalho pretende apresentar algumas perspetivas para a
futura valorização do Bairro do Carvalhido em sentido lato, integrando seja orientações para
a requalificação dos espaços públicos envolventes, seja perspetivas para a futura manutenção
e de boas práticas de utilização.
Deste modo, pretende-se contribuir para prolongar a vida do edifício no tempo através
de uma melhor e mais sustentável gestão dos recursos e, simultaneamente, aumentar
a autoestima e os níveis de satisfação dos utilizadores, e preservar a integridade e valor
arquitetónico para as gerações futuras.The present dissertation expands the analysis on the Bairro do Carvalhido, in the city of Porto, analyzing its entire life cycle in time: i) original project, ii) rehabilitation and iii) prospects for a future assessment in a primordial sense, including contributions for its requalification, maintenance and usage. The theme of the work is part of a broader question of contemporary management and rehabilitation of affordable dwellings, of which some examples will be presented and analyzed both in the national and international context. The methodology of this work blends indirect sources (such as written, graphic, cartographic, photographic information) with direct sources (in situ analysis and interviews). With this methodological backing, the analysis of Bairro do Carvalhido is developed under three aspects: i) urban (its surroundings and public space), ii) constructive (its constructive system, materials and infrastructure) and iii) typological (its common spaces and housing). The original proposal for Bairro do Carvalhido (1958) was part of the Improvement Plan of the City of Porto (1956-1977) which this present work succinctly contextualizes, as well as its antecedents. Subsequently, the rehabilitation of Bairro do Carvalhido (2007-2018) promoted by Domus Social is analyzed, which essentially focuses on the exterior aspects of the buildings (namely its roofs, façades and window frames) as well as, on the infrastructure (among them water, electricity and gas networks). Finally, despite the recent intervention (which, due to the limited funding available, it was not comprehensive and exhaustive enough), there are still some problems in Bairro do Carvalhido, among which the state of preservation and appropriation of the building and its public space. In this sense, the present work intends to showcase some contributions for a future appreciation of Bairro do Carvalhido in a broader sense, integrating such as guidelines for the requalification of the surrounding public spaces, as well as points of view for future maintenance and practice of good usage. Consequently, there is an intent to contribute in prolonging the life of the building over time through better and more sustainable management of resources and, at the same time, increasing the self-esteem and satisfaction of the users, and by that preserving the integrity and architectural value for future generations.
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Castro, Ana Luís Marques de. "A reconstrução de Lisboa e a vigília por destino." Master's thesis, 2021. https://hdl.handle.net/10216/136376.
Full textAbstract:
Move esta dissertação o desejo de imergir a Lisboa que nascia com o terramoto do primeiro de
Novembro de 1755 numa conflitualidade que a resgate de uma inverosímil pacificação; que a desvele como
necessária resposta ou tentativa de resistência em relação à tremenda carga trágica desencadeada pelo Terramoto;
que adense os seus sonhos e as suas contradições; que pela fragilidade a agigante; que abra espaço a
uma hipótese de sentido.
Essa esperança de desestabilização levará a dissertação a pensar Lisboa - nome já personagem onde
se reúnem, sobrepõem e divergem as intenções de Manuel da Maia, Eugénio dos Santos e do Marquês de
Pombal - segundo o modo como terá sonhado a possibilidade de um futuro liberto do medo, da perda e da
irracionalidade; do modo como terá reconhecido as consequências da forma como se projectava no futuro
e como poderá ter tentado deter o que tinha tomado como desígnio. A dissertação será, por isso, sobre afirmação,
reconhecimento e arrependimento; desse tripartido modo de ser de Lisboa - acumulação na qual se
ensaia una e não paradoxalmente contraditória, desdobrada - retirará o foco das suas três partes.
A primeira parte será uma tentativa de fundação da Dissertação de Manuel da Maia e do plano de
Eugénio dos Santos numa tragicidade partida em dois modos: emocional e cultural: os jogos temporais
desencadeados pelas ruínas e a particular relação entre o espírito do tempo, absorto na ideia do melhor dos
mundos possíveis, e a sugestão de uma Natureza convulsa, subtraída de finalidade, bondade, razão. A partir da
recriação da superação ou resistência contra essa dupla tragicidade, a dissertação avançará no tempo - nas
duas seguintes partes - com uma Lisboa em confronto com novos monstros, agora produzidos por si - o
da livre contemplação do destino e o de um terror inicial retumbante na sua racionalidade. Desse confronto, e do
modo como se lidaria com o futuro daí em diante, a dissertação retirará o total problema temporal em jogo
na nova Lisboa. No cruzamento das primeiras intenções de Lisboa e das suas consequências, o seu carácter
aclarar-se-á; revelar-se-á a profunda dificuldade da circunstância na qual se via tomada, do tempo que a
designava sua confirmação e do passado que, apesar da inicial radicalidade manifestada na Baixa, talvez não
silenciasse.This thesis dissects the resurgence of Lisbon after the 1755 earthquake. The main goal is to rethink the city within a conflicting debate that is capable of rescuing it from a questionable pacification; capable of unveiling it as a needed response or attempt to resist the tremendous tragic burden caused by the Earthquake; that may be able to deepen its dreams and contradictions; enhancing it through its fragility; making it meaningful. More specifically, the work is about how Lisbon - forename of a character where one may find the gathered, overlapped, and divergent intentions of Manuel da Maia, Eugénio dos Santos, and the Marquis de Pombal - dreamed about a future freed from fear, loss, and irrationality; about how it perceived the consequences of its vision of a future identity and how it may have aimed to hold back its early purpose. This work is, therefore, about assertiveness, recognition, and regret. From this tripartite way of understanding Lisbon, the thesis will draw its structure. The first part will seek to set up Manuel da Maia's Dissertation and the plan drawn by Eugénio dos Santos within the emotional and cultural consequences of the tragedy: seen in the chronological conflict evoked by the ruins, in the context of an articulation between a rational belief and the suggestion of a subverted nature, without virtue, intent nor reason. Out of the reaction to this double-sided tragedy, the discourse unfolds in two parts, focusing on the challenging struggles between Lisbon and its emerging demons: the free contemplation of destiny and the initial terror resounding in its rationality. Through this confrontation and the way the future would be dealt with afterwards, the work will sort out the temporal problem at stake in the new Lisbon. At the intersection point between Lisbon's initial intentions and their consequences, its character will be clarified; the profound difficulty of the circumstance in which it found itself immersed will be revealed: a dispute between a new time reclaiming Lisbon to be its own expression and a past time that, despite the initial radicalism of the project for the downtown area, in the end, would prove to be not that silent.
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Pinto, Verónica dos Santos. "Atlas errante." Dissertação, 2021. https://hdl.handle.net/10216/135624.
Full textAbstract:
Todos se parecem guiar pelos dígitos mágicos de um relógio, mas poucos conhecem
a orientação de uma bússola. Espinha dorsal da existência humana, o tempo parece
domesticar todos os nossos movimentos, levando-nos demasiadas vezes a desprezar a
mais bela das perguntas: que lugar ocupamos nós na esfera a que resolvemos chamar
mundo?
Sinapse geográfica de memórias passadas e futuras, a presente dissertação coleciona
os fragmentos de um caderno de viagem por terras sul-americanas que recorre à arquitectura enquanto lente crua de observação do mundo, à medida que reflete sobre
temas essenciais da construção do espaço e da vida. Sob a perspetiva de um olhar sem
meta, que encontra sem procurar, projeta na calma do papel as notas de uma viagem
anunciada e sentida cuja silhueta adquire progressivamente a forma do seu próprio
esquecimento.
Umbilicalmente condicionada pelo ofício da arquitectura, tateia os seus limites através
de curtos episódios que devolvem à humanidade a sensibilidade de uma investigação
verdadeira, livre de vícios ou preconceitos. Como qualquer história contada pela sucessão de fragmentos, beneficia do seu carácter inaugural e urgente, com que imprime
em direções várias breves fissuras operativas.
Convido o leitor a acercar-se delas com a ousadia de quem erra sob olhares primeiros
um lugar desconhecido e se recusa a aprender a língua em que já tudo foi dito. Que
encontre na minha visão, sem pretensão de outras, a sua, e nela plasme os contornos
de uma existência que não a minha. Que se emocione e espante a cada descoberta,
tanto quanto eu calo as minhas, partículas eternas desta grande aventura que milagrosamente partilhamos: a vida.All of us appear to be guided by magical digits of a watch, but few are the ones that know the direction of a compass. Backbone of human existence, time seems to domesticate all our movements, taking us too many times to despise the most beautiful of questions: what place do we take in this sphere we have agreed to call the world? Geographical synapsis of past and future memories, the present dissertation collects the fragments of a travel log in South American lands, that makes use of architecture as bare lens to the world observation, as it reflects on essential themes of the construction of space and of life. Under the perspective of an eye that finds without looking, that projects in the easiness of paper the notes of an announced and felt journey, which profile progressively acquires the shape of its own oblivion. Umbilically conditioned by architecture's craft, gropes its limits under the shape of fragments that return humanity the sensibility of a true enquiry, free of vices or prejudice. Like any story told over a link of fragments, benefits from its inaugural and urgent nature with which prints tenuous oppressing figures in multiple directions. I invite the reader to come close to them with the boldness of who errs in fresh looks of an unknown place, and refuses to learn the language in which everything has already been said. May you find in my vision, without wants of others, your own, and in it mold the outlines of an existence other than mine. May you awe and thrill at every finding as much as I silence my eternal particles of this great adventure that we miraculously share: life.
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Pereira, Pedro Dionísio Alves. "Para a transformação de uma casa em Recarei: Apontamentos, Experiência e Reflexões." Dissertação, 2019. https://hdl.handle.net/10216/135847.
Full textAbstract:
Assente numa dualidade entre a permanência do que está escrito e
impresso, e a fragilidade de se tornar rapidamente desactualizada ( -
felizmente!), esta dissertação é um acto de ternura sobre uma elegia
que não o devia ser.
Morfologicamente, esta investigação inicia-se por um momento de reconhecimento
pessoal do lugar onde se investe na diferenciação das distintas escalas, que só o
movimento pelo espaço pode possibilitar, e desse modo, cria-se a viagem que
viabiliza a real aproximação ao sítio e ao seu contexto. De seguida, toma-se o
visível e o invisível do objecto de estudo. Com uma análise baseada na observação
e consequente dedução, abordam-se as raízes que contêm as heranças e memórias;
a paisagem domesticada tida como oficina da nossa expressividade; o fabrico de
símbolos pessoais na construção da nossa segurança; os processos e instrumentos
que levam ao compromisso na arquitectura; e a partilha do conhecimento como
método de regeneração do suspenso no construído.
Um trabalho (d)escrito pelas ferramentas da palavra, do desenho e da imagem, e
que partindo de uma habitação (em verbo e construção) já antiga e refém da sua
circunstância, se faz molde a um ensaio sobre o processo de projecto que é a sua
premeditação.Based on a duality between the permanence of what is written and printed, and the fragility of becoming quickly outdated (-fortunatly!), this dissertation is a gesture of tenderness about an elegy that itself should not have to be. Morphologically, the research begins with a moment of personal reconnaissance of the place where one invests in the differentiation of distinct scales which only the movement through spaces can enable, and thus it creates the journey that allows the real approach to the site and its context. Then, one takes the visible and the invisible of the object in study. With an analysis based on observation and consequent deduction, we approach the roots that contain inheritances and memories; the domesticated landscape taken as a workshop of our expressiveness; the manufacture of personal symbols for our own safety; the processes and instruments that leads us to commitment in architecture; and the sharing of knowledge as a method of regeneration of the suspended in dwelling. A work written with the tools of the word, the drawing and the image, and starting from an house already old and hostage of its own circumstances, that gives mold for an essay on a project process that is its own premeditation.
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Piedade, Alexandre Filipe Marques. "Campanha Promocional Aqua Leve - Packaging e Promoção de uma Jarra." Dissertação, 2021. https://hdl.handle.net/10216/136377.
Full text
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Pereira, Francisco José Pádua Dias. "A Necessidade de um refúgio: Transformação da casa de Aldarete." Master's thesis, 2021. https://hdl.handle.net/10216/136127.
Full textAbstract:
A presente dissertação debruça-se sobre aquilo que Antón Capitel designou como um
dos "mais interessantes e complexos temas de composição em arquitetura"
- a Reabilitação.
A dificuldade inerente a esta temática está associada à procura de uma solução coerente e
equilibrada entre conceitos aparentemente paradoxais: permanência e transformação, tradição
e inovação, passado e presente, valorização da preexistência e a necessidade de se adaptar às
exigências contemporâneas.
O reconhecimento de que uma dada herança da evolução humana deve ser transmitida às
gerações futuras está subjacente a uma determinada carga valorativa
que a sociedade que os
herda atribui, conferindo a esses vestígios do passado o estatuto de património. Tratar-se-ia,
por isso, de um processo simbólico de legitimação social e cultural de determinados objetos
que conferem a um grupo um sentimento coletivo de identidade.
A problemática inerente a como intervir em contexto preexistente, neste caso, numa
casa vernacular localizada no concelho do Peso da Régua, motiva a construção de uma
narrativa teórica que auxilia o exercício de projeto, assente numa contextualização analítica e
reflexiva de como foi sendo feito ao longo do tempo, bem como no conhecimento aprofundado
das circunstâncias e condicionantes do objeto a intervir, de forma a encontrar uma solução
arquitetónica adequada.
Não havendo uma teoria universal de atuação, as circunstâncias que estão subjacentes
a cada intervenção serão distintas e cabe ao arquiteto "ter a sensibilidade para, através do
conhecimento da preexistência, fazer uma síntese entre o passado e o presente, acrescentando
novos significados e utilidades ao existente, sem o destruir ou anular."
Assim, o arquiteto
caminha no fio da navalha entre o pastiche historicista e a exaltação contemporânea, correndo
o risco, no primeiro caso, de congelar a arquitetura, de musealizá-la, tornando-a desajustada às
exigências contemporâneas e, no segundo, de os valores introduzidos anularem a natureza e o
caráter documental da própria obra.This dissertation focuses on Antón Capitel, one of the "most interesting and complex architectural composition themes" - Rehabilitation. This theme's inherent difficulty is associated with searching for a coherent and balanced solution between apparently paradoxical concepts: permanence and transformation, tradition and innovation, past and present, valuing pre-existence and the need to adapt to contemporary demands. The policy of conserving human evolution's testimonies has been changing over time, from the most remote times to our days, depending on the culture and the geographical place. From this point of view, the intention to prolong a material heritage's life has always relied on recognizing its values and meanings, whether or not they legitimized its future. Hence there is an unmeasurable list of works that have not survived until then, vulnerable either to vandalism, harmful re-use or even to the natural effects of degradation. The inherent problem of how to intervene in the pre-existing context, in the case of a vernacular house inserted in the municipality of Peso da Régua, it motivates the construction of a theoretical narrative that helps the exercise of project. Based on an analytical and reflexive contextualization of how it has been done over time and on an in-depth knowledge of the object's circumstances and conditioning factors to intervene and find an adequate project solution. In the absence of a universal theory of action, the circumstances underlying each intervention will be different. It is up to the architect "to have the sensitivity, through knowledge of pre-existence, to make a synthesis between the past and the present. They are thus adding new meanings and utilities to the existing, without destroying or nullifying it". Thus, the architect walks on the razor's edge between historicist pastiche and contemporary exaltation. Running the risk, in the first case, of freezing the architecture, to integrate into a museum or to transform into a museum piece it, making it unsuited to contemporary demands, and, in the second, of the values introduced annulling the nature and documentary character of the work itself.
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Craveiro, Gabriela Alves Caldelas. "Reabilitação de um edifício em Vila do Conde. Processo de reabitar em vertentes multidisciplinares." Master's thesis, 2021. https://hdl.handle.net/10216/135965.
Full textAbstract:
A presente dissertação tem como motivação a perspetiva de reabilitação de um
edifício habitacional situado no centro histórico da cidade de Vila do Conde, cuja
fundamentação teórica assenta no cruzamento de diferentes disciplinas que se articulam com
a Arquitetura na forma de estudar a casa e o habitar.
Considera-se pertinente compreender as necessidades concretas do quotidiano, rico
na pluralidade de estímulos pessoais, sociais, culturais e familiares que possui do ponto de
vista físico, sensorial e sentimental. De facto, o espaço da casa importa por se afirmar como
o cenário de todas estas dimensões, que não só devem estar presentes na consciência do
arquiteto, como também devem ser potenciadas pelo indivíduo que apropria e adapta o
espaço às suas necessidades. Assim, é delineada uma cronologia que passa pela evolução
organizacional e socioantropológica da tipologia habitacional, principiando no século XVI e
culminando na época contemporânea, a partir da qual são expostos exemplos da casa
burguesa do Porto e o tipo de habitações que surgiram em Lisboa entre as décadas de 40 e
70.
É elaborada uma reflexão sobre a indissociabilidade da Arquitetura com as
disciplinas da Filosofia, Psicologia, Sociologia e Antropologia, afim de poder integrar e
compreender o papel do Homem aquando a construção de um lar, bem como a consequente
apropriação que o transforma num espaço identitário. Como resultado destas considerações,
o projeto de reabilitação convoca estas preocupações e fatores para o desenho da forma,
organização funcional, materialidade, plasticidade da luz, sugerindo ainda uma solução de
organização espacial.This dissertation is motivated by the perspective of rehabilitation of a residential building located in the historic center of the city of Vila do Conde, whose theoretical foundation is based on the intersection of different disciplines that are articulated with Architecture in the way of studying the house and inhabiting it. It is considered pertinent to understand the concrete needs of everyday life, rich in the plurality of personal, social, cultural and family stimuli that it has from the physical, sensory and sentimental point of view. In fact, the space of the house is important because it asserts itself as the setting for all these dimensions, which must not only be present in the architect's conscience, but must also be enhanced by the individual who appropriates and adapts the space to his needs. Thus, a chronology is outlined that goes through the organizational and socio-anthropological evolution of the housing typology, beginning in the 16th century and culminating in the contemporary era, from which examples of the Porto bourgeois house and the types of habitation hat emerged in Lisbon between the decade of 40 and 70. A reflection is elaborated on the inseparability of Architecture with the disciplines of Philosophy, Psychology, Sociology and Anthropology, in order to be able to integrate and understand the role of Man when building a home, as well as the consequent appropriation that transforms it into an identity space. As a result of these considerations, the rehabilitation project calls for these concerns and factors for the design of the shape, functional organization, materiality, plasticity of the light, also suggesting a solution of spatial organization.