DRAWING
REGENCE
JOSÉ MARIA LOPES
Preliminary note
The tireless pursuit of Drawing at the Faculty of Architecture of the University of Porto (FAUP) is one of the cornerstones of its national and international reputation. The centrality of Design in the faculty's outlook, as well as in its scientific and pedagogical convictions, has enabled it to really stand-out among the other institutions in its field.
MODULE DESCRIPTION
1. Objectives
One of the main objectives of the Drawing module is to encourage representation and knowledge of the visible world and mental images especially connected to the world of Architecture and Project processes. It seeks to provide the student with the skills to portray both the real and imaginary through manual drawing. In particular, the module sets out to ensure that the student has the tools that will allow him or her to develop observational, analytical, representational, memory-related and project development skills.
The student’s conceptual, programmatic and poetic intentions will be developed, as will his or her capacity to compose and think in terms of images.
In addition, there is a focus on the necessity of and pleasure in representation, as well as the recognition that design is the graphic expression of a proposal that must search for its projection in the outside reality, and the history of Design and Architecture. The module also promotes Design understanding as an essential tool in project-related thought.
2. Syllabus
The Drawing syllabus is organised around two general themes: Real Drawing and Imaginary Drawing.
Technical, methodological and conceptual deepening and progression are all developed.
2.1. Real Drawing
The first phase of work is essentially developed starting with the elementary Design themes of understanding and observation and the graphic recording of real motifs and themes, with particular focus on architectural heritage. Importance is placed on addressing questions of spatial articulation, measured quantification of urban landscapes as well as the sensitivity relationships between light, shade and colour.
The aim is also for students to obtain the skills necessary to understand, conceive and create images.
In this respect, first-phase work designs constitute the tangible reflex of searching for a quantifiable perception of reality, to which an over-riding sensitivity is allied, seeking, among the values of light and shade, the empathy and emotions of the spaces.
2.2 Imaginary Drawing
The module aims to develop the capacity to build design processes responding to the needs of images not directly deriving from the perceptive experience of the real world. It also seeks to explore the instrumental and mental processes and attitudes concerning the conceptuality of typical project images, focusing on the use of perspective.
In addition, the module aims to compare and study the production of phenomena of the repetition and copying of images native to the realm of architectural design. The study and comprehension of the graphical registers of plastics forming part of architectural heritage also form part of this module.
2. 3. Theoretical Sessions
- Module presentation and work schedule.
- Structural Design. Constructive Design.
- Darkness and light: representation of the phenomena of light and shade.
- Fine art elements in Design.
- The representation of perspective.
- The visual culture and perspective of the space.
- Perspective of image and spatial imagination.
- Project design.
- Design drawing.
- Graphic expression.
3. Primary Bibliography
AA. VV. - Desenho Projecto de Desenho. Instituto de Arte Contemporânea. ISBN: 972-8560-249
AA. VV. - PSIAX - Estudo e Reflexões sobre Desenho e Imagem. Porto: FAUP, FBAUP and EAUM combined Ed. Series 1 and 2. All volumes.
ACKERMAN, James S.- Architettura e disegno. La rappresentazione da Vitruvio a Gehry. Milan: Mondadori Electa, 2003. ISBN 88-370-2058-9.
BENJAMIM, Walter - “Pintura e Desenho: Sobre a Pintura ou Sinal e Mancha” [1977] in MOLDER, Maria Filomena – Matérias Sensíveis. Lisbon: Relógio d’Água, 1999, pp. 13-17.
BRUSATIN, Manlio - "Desenho/Projecto", Enciclopédia Einaudi, vol.25. Lisbon: INCM,1993.
CARNEIRO, Alberto - Campo, Sujeito e Representação no Ensino e na Prática do Desenho/Projecto. Porto: FAUP Publicações, 1995.
CHAET, Bernard - The art of Drawing. Cengage Learning Ed., 3rd Ed., 1983 [1970].
CORTE-REAL, Eduardo - O Triunfo da Virtude. As Origens do Desenho Arquitectónico. Lisbon: Livros Horizonte, 2001. ISBN 972-24-1140-3.
DAMISCH, Hubert - Traité du Trait. Paris: Diffusion Seuil, 1995.
De RUBERTIS, Roberto - Il Disegno dell'Architettura. Roma: La Nuova Italia Scientifica 1994 . ISBN 88-430-0272-4.
EDWARDS, Betty - The New Drawing on the Right Side of the Brain. New York: Pinguin Putnam Inc., 1999. ISBN: 0874774241.
GOLDSTEIN, Nathan - Figure Drawing. New Jersey: Prentice Hall, 1999 [1976], 5th Ed..
HALE, Robert Beverly: Drawing lessons from the great masters. New York: Watson-Guptill Publications, 1989.
HOLANDA, Francisco De: Do Tirar Polo Natural. Lisbon: Livros Horizonte, 1984 [1549].
HOLANDA, Francisco De: Da Ciência do Desenho. Lisbon: Livros Horizonte, 1984 [1571].
LOPES, José Maria da Silva: O Desenho do Corpo em Portugal no Século XVIII - Os Actos do Desenho / O Desenho dos Actos, Doctoral thesis presented in the Faculty of Architecture of the University of Porto. 2009, Roneo-ed ed.
MASSIRONI, Manfredo - Ver pelo Desenho: Aspectos técnicos, cognitivos, comunicativos. Lisbon: Edições 70, 1982.
MOLINA, Juan José Gomez [Coord.] - Máquinas y Herramientas de Dibujo. Madrid: Cátedra, 2002.
MOLINA, Juan; CABEZAS, Lino; COPÓN, Miguel - Los Nombres del Dibujo. Madrid: Cátedra, 2005.
NICOLAIDES Kimon - The Natural Way to Draw. Boston: Houghton Mifflin, 1969.
QUICCI, Fabio - Tracciati d’Invenzioni. Euristica e disegno di architettura. Turin: Utet, 2004. ISBN 88-7750-876-0.
RECHT, Roland - Le Dessin d’Architecture. Origine et Fonction. Paris: Adam Biro, 1995 ISBN 2-8766-0156-7.
ROBBINS, Edward - Why Architects Draw. Cambridge, Massachussets: M.I.T. Press, 1994; 2nd ed.1997 ISBN 0-262-68098-X.
RODRIGUES: Ana Leonor Madeira: O Desenho. Ordem do Pensamento Arquitectónico. Lisbon: Editorial Estampa, 2000.
SAINZ, Jorge - El Dibujo de Arquitectura. Teoría e História de un Lenguage Gráfico. Madrid: Editorial Nerea, 1990. ISBN 84-86763-32-0.
SALAVISA, Eduardo - Diários de viagem. Lisbon: Edições Quimera, 2008. ISBN: 9789725891889.
SHITAO: A Pincelada Única. Guimarães: Edições Pedra Formosa, 2001 [c. 1720], [Trad.: Adelino Ínsua].
SILVA, Vítor: Ética e Política do Desenho. Faculty of Architecture of the University of Porto, 2004.
SILVA, Vítor, ed. et. al. - Sebenta. Desenho 2. Porto, FAUP: Roneo-ed ed., 2013-2014. Vol. 1 and Vol. 2.
TOLNEY, Charles: History & Technique of Old Masters Drawings. New York: Hacker Art Books, 1983.
VIEIRA, Joaquim: O Desenho e o Projecto são o Mesmo?. Porto: Faculty of Architecture of the University of Porto, 1995.
VIEIRA, Joaquim: “O que eu digo dos desenhos” in AA. VV. – Desenho/Projecto. Porto: Faculty of Architecture of the University of Porto, 1995, pp. 82-87.
LECTURERS
ARMANDO FERRAZ
4. Teaching methods and learning activities
The syllabus will develop according to the type of theory and practice in the classroom.
The theoretical sessions are intended for presenting materials, themes, examples and theoretical foundations of the practical exercises undertaken in each assignment or study phase.
Work sheets will be provided, defining the theoretical and practical framework of each phase, as well as the assignments and the assessment and critical parameters. The assignments form the didactic point of reference par excellence, from which critical reflection on a student's own work and that of fellow course-mates, is encouraged.
Emphasis is placed on teacher-student contact, which is itself a guaranteed exchange of knowledge, expectations, questions and answers.
Progress and evaluation sessions are key parts in all of this process.
5. Type of Evaluation
Evaluation without final exam.
Evaluation Weighting
Designation Weight (%)
Class participation 100
Total: 100
Work components
Designation Time (Hours)
Attendance at classes 48
Total: 48
6. Passing Attendance
Evaluation is continuous. It is made using the correction of each piece of work, comparative criticism and progress sessions, explicitly taking into consideration the factors for evaluation given on the work sheets. At the end of the year the student must undergo an appraisal and discussion concerning all of the work carried out in academic activities. The award of a classification is individual and on a scale of 0 to 20.
Failure to submit work implies that the module remains unfinished. Attendance at evaluation sessions is both compulsory and vital. There is no examination. In order to pass the attendance component, the student must ensure that he or she attends at least 75% of scheduled classes.
Method for Calculating Final Classification
The classification awarded will be the result of the comparative development of student responses, taking as a point of reference the parameters defined in the work sheets. The calculation pre-supposes progression through the required levels of the assignments, as well as the temporal perspective and the synthesis of what has been learnt. An evaluation session at the end of the first work phase will not contribute to the final classification and will only be of indicative value.
Description: 1 Semester
Type: Practical-Theoretical Classes. Time (hours): total 48 contact hours.
Key words
Design; Representation; Perception; Recognition; Space; Perspective; Project; Architecture; Image; Expression; Composition; Consideration.
