Drawing III

Recommended Prerequisites

Drawing II.

Teaching Methods

Fieldwork or laboratory works (25%):

Drawing survey of elements and spaces of different nature, by using different graphical means.

Synthesis works (25%):

As result of elaborate processes of representation and invention, to reach different formal synthesis solutions, graphical and/or compositional (possibility of using different means in different stages of the process, like tracing paper, photocopies, or digital and computational devices).

Projects (25%):

Responding to conceptual challenges, to project new forms (here we privilege the use of the traditional graphic materials in the expressive potentialities of lines in drawing and to emphasize a close relationship between the hand and the brain)

Research works (25%):

To collect different visual elements, inclusive those belonging to artist and architecture culture relevant for the projects in progress.  

Learning Outcomes

Drawing III, continues the goals and methodologies of Drawing II, but introduces the digital media in its exercices.

To provide the students with skills to use drawing as a privileged instrument to perceive, communicate and conceive, in the sense that the knowledge of Fine Arts has a major influence in the quality of architecture design.

In this sense, it’s also important to emphasize the formal qualities of drawing but also the use of drawing as a way of perceiving reality, as a form of perceiving and shaping space, and also in the exploitation of its inventive potentialities.

To provide the students with skills in the use of drawing as an instrument in formal research in expressive relationships between shapes and concept, that will contribute to improve both artistic and architectural culture in a better understanding of the formal processes and in the ability of reading shapes.

Work Placement(s)

No

Syllabus

a) Drawing as an instrument of spatial representation

Representation of objects, human figure and urban space.

b) Digital media and traditional drawing media

c) Drawing as a language.

The use of drawing as instrument of communication in the processes of formal conception

d) Drawing as an instrument to achieve compositional coherence.

Exercises of exploitation and control of the relations between shapes and their relative placement.

e) Drawing as a space for formal invention.

Drawing as a process of generating new shapes in processes of successive metamorphosis

Head Lecturer(s)

Pedro Filipe Rodrigues Pousada

Assessment Methods

Assessment
Project: 25.0%
Research work: 25.0%
Synthesis work: 25.0%
Laboratory work or Field work: 25.0%

Bibliography

100 contemporary architects:drawings & sketches / selected by Bill Lacy, London, Thames and Hudson,1991

 Edwards, Betty.Aprender a dibujar com el lado derecho del cerebro. Barcelona, Ediciones Urano,1994

Molina, Juan José Gomes, Las leccines del dibujo, Madrid, Cátedra,1995

Recht, Roland. Le dessin d'architecture, origines et fonctions, Paris,Adam Biro,1995

Hale, Robert Beverly, Drawing lessons from the great masters, New York, Watson-Guptill Publications,2009

 Sainz, Jorge. El dibujo de arquitectura: teoria e historia de un lenguage gráfico. Barcelona, Editorial Reverté,2005

Wan- Go Weng.  Chinese painting and calligraphy: a pictorial survey, New York,  Dover Publications,1978

Collier, Graham. Form, space and vision: an introdution to drawing and design,  New York, Prentice-Hall, Inc,1985

Architectural drawings of the russian avangarde. New York, The Museum of Modern Art, 1990

Olaio, António, Desenho, percepção e investigação formal, Coimbra, Imprensa da Universidade, 2006