Utilize este identificador para referenciar este registo: http://hdl.handle.net/11067/2096
Título: Do desenho à arquitectura : o desenho como instrumento
Autor: Ávila, Edi Gualberto Freitas de
Orientador: Carvalho, Emília Maria Rodrigues de
Palavras-chave: Arquitectura
Desenhos e planos
Desenho
Instrumento de arquitectura
Data: 30-Mar-2016
Resumo: Com a elaboração desta dissertação pretende-se uma reflexão sobre um dos elementos mais expressivos na formação de um estudante de Arquitectura: o Desenho. A aproximação a esta temática é feita através do ponto de vista do próprio aluno de arquitectura. Sendo assim, o desenho é compreendido como um instrumento intrínseco à elaboração e construção do pensamento arquitectónico e a sua pratica permite reestruturar conceitos, ordená-los e experimentar a sua integração num raciocínio mais abrangente. Talvez por uma certa indiferença de padrões conceptuais ou então devido a um aumento dos domínios, desenho e projecto muitas vezes confundem-se entre si, mesmo quando se definem modos opostos de pensar, de conceptualizar ideias e de construir realidades. O conceito principal neste raciocínio não é definir domínios autónomos, mas sim dar a entender que desenho e projecto se complementam. Que, frequentemente, a frágil delimitação entre ambos permite a compleição, indissociáveis que são, na área a que se restringem, de um pensamento multidisciplinar elaborado. Deduz-se, então, que a interrogação base a colocar, levando também em conta as muitas outras questões nascentes ao longo desta dissertação, se sintetiza na seguinte pergunta: Qual a relevância do desenho enquanto instrumento conceptual para o desenvolvimento do projecto arquitectónico? Mais do que tentar conhecer o porquê desta questão, interessa entender o como. Mais do que perceber o motivo pelo qual este elemento é tão importante, pretende-se descortinar e dissecar a evolução da sua articulação, ao longo do percurso conceptual que é o desenvolvimento do projecto arquitectónico. A mão e a acção do seu gesto, permite ao arquitecto visualizar, num dado suporte, aquilo que a mente imaginou e criou. Contudo, há apenas que entender a interdependência e a relevância singular das partes, na construção conceptual de um projecto de arquitectura no seu todo. O estatuto e a importância do desenho, enquanto instrumento estruturante das acções do projecto, adquirem na formação e desenvolvimento deste, um papel preponderante. A concepção do projecto inicia-se num frenesim de impulsos criativos gerados em mente, corporizando-se depois numa dada base real que regista todas estas acções, ao longo dum excitante diálogo entre o desenho e o processo. Esquiçar objectos e formas que idealizem ideias e pensamentos; reabilitar ideais, materializando-as e dando-lhes novos usos e novas funções de modo a que se integrem em novas realidades; exercitar e seguir os meandros do desenho, é delimitar conscientemente o percurso conceptual do projecto arquitectónico. O desenho é um instrumento que, pela sua facilidade de manejo e multiparidade de usos, permite desenvolver um método de pesquisa e análise eficaz para a validação das opções tomadas durante a conceptualização do projecto. Agiliza, ainda, a aquisição das ferramentas essenciais presentes no desenho que sirvam as necessidades instrumentais do projecto. Os pensamentos e ideias que se geram no nosso consciente, adquirem forma e expressão na superfície do papel ou em outro qualquer suporte que possibilite registar toda essa informação. O acto de desenhar suporta toda essa recriação e visão do pretendido, representando e expressando não só a realidade existente mas também o abstracto. Para a evolução deste trabalho em concreto foram importantes autores como: Eduardo Corte-Real, Ana Leonor Rodrigues, Alberto Carneiro, Domingos Tavares assim como, Siza Vieira, Óscar Niemeyer, Louis Kahn e Frank Gehry. Os autores iniciais permitiram-me uma abordagem geral à problemática do desenho arquitectónico; ora numa abordagem histórica ora na ordenação do pensamento. Os últimos permitiram-me centrar a reflexão na aprendizagem do desenho enquanto instrumento fundamental na prática do processo desenhado nas suas obras. Tendo em conta o estudo efetuado sobre a temática do desenho e os seus domínios, reforçada pelo percurso individual dos autores em estudo e pela experiencia pessoal, completo o conhecimento teórico na análise processual do Projecto V. Tenciono fazer aqui um resumo das reflexões inicialmente esboçadas que deram origem ao projecto consolidado na disciplina de Projecto V. Acredito numa definição de arquitectura pessoal, assente em experiências pessoais, aprendizagens e vínculo pessoal, que se vai construindo ao longo da formação pessoal e que, plena de incompletude transborda para a vida do arquitecto uma atitude de constante interrogação. Abstract: With the development of this dissertation aims to reflect on one of the most expressive elements in forming a student of architecture: the design. The approach to this issue is through the point of view of the very architecture student. Thus, the design is understood as an intrinsic instrument will design and construction of architectural thought, its practice allows restructure concepts, sorts them and try to integrate a broader reasoning. Perhaps a certain indifference of conceptual patterns or due to an increase in domains, design and project often are confused with each other, even defining opposite ways of thinking, conceptualizing ideas and build realities. The main concept of this reasoning is not set autonomous areas, but rather to imply that design and project complement each other, being inseparable in the area that are restricted by developing a thought between both multidisciplinary. With this, we conclude that the question basis to do in the wake of many other issues throughout the development of this work is summarized with the following question: What is the relevance of the design as conceptual tool for the development of the project Architectural? Rather than try to achieve why this question interests us understand how. More than realizing the reason why this element is so important, I intend to uncover and dissect the evolution of its articulation, along the conceptual route, which is the development of the architectural project. The hand and the action of his gesture, allows the architect view a support given what the mind imagined and created, with everything, I just want to perceive and understand what addiction and the relevance of each of the parties to the conceptual construction of each project architecture. The status and the importance of drawing, as a structuring tool for project actions, acquire the training and development of, a key and leading role. The design of the project initiated by a frenzy of creative impulses generated by the mind, embodying after a given real-base that records all these actions, along an exciting dialogue between drawing - "the process". Sketches objects and shapes idealizing ideas and thoughts, rehabilitate materializing the ideals and giving them new uses and new functions in order to integrate into new realities: exercise and follow the intricacies of the design is consciously define the conceptual path of the architectural design. The design is an instrument for their ease of handling and multiparity of uses, allows develop a method of research and effective analysis for the validation options taken during the conceptualization of the project and acquire the tools essences present in design serving the instrumental needs of the project. The thoughts and ideas that are generated in our conscious gain form and expression on the surface of the paper, or any other medium that allows recording all this information we set out to register. The act of drawing supports all this recreation and the desired vision, representing and expressing not only the actual situation but also the abstract. For the evolution of this work in particular were important authors such as Eduardo Corte - Real, Ana Leonor Rodrigues, Open Carneiro, Domingos Tavares as well as Siza Vieira, Oscar Niemeyer and Louis Kahn and Frank Gehry. The initial authors allowed me a general approach to the problem of architectural design, now a historical approach, sometimes as originator of thought. The last allowed me to focus reflection on the drawing learning as a key instrument in practice the process designed in the work of these authors. Having regard to the study conducted on the subject of design and their domains, enhanced by the individual careers of authors in evidence and personal experience, I finish the theoretical knowledge in procedural analysis of V. Project intend to do here an overview of the reflections and ramblings initially outlined giving rise to the consolidated project in V. design discipline. I believe in a personal definition of architecture, based on personal experiences, learning and personal bond, one that is being built along our personal training and full of incompleteness overflows into the life of one architect questioning and constant attitude.
Abstract: With the development of this dissertation aims to reflect on one of the most expressive elements in forming a student of architecture: the design. The approach to this issue is through the point of view of the very architecture student. Thus, the design is understood as an intrinsic instrument will design and construction of architectural thought, its practice allows restructure concepts, sorts them and try to integrate a broader reasoning. Perhaps a certain indifference of conceptual patterns or due to an increase in domains, design and project often are confused with each other, even defining opposite ways of thinking, conceptualizing ideas and build realities. The main concept of this reasoning is not set autonomous areas, but rather to imply that design and project complement each other, being inseparable in the area that are restricted by developing a thought between both multidisciplinary. With this, we conclude that the question basis to do in the wake of many other issues throughout the development of this work is summarized with the following question: What is the relevance of the design as conceptual tool for the development of the project Architectural? Rather than try to achieve why this question interests us understand how. More than realizing the reason why this element is so important, I intend to uncover and dissect the evolution of its articulation, along the conceptual route, which is the development of the architectural project. The hand and the action of his gesture, allows the architect view a support given what the mind imagined and created, with everything, I just want to perceive and understand what addiction and the relevance of each of the parties to the conceptual construction of each project architecture. The status and the importance of drawing, as a structuring tool for project actions, acquire the training and development of, a key and leading role. The design of the project initiated by a frenzy of creative impulses generated by the mind, embodying after a given real-base that records all these actions, along an exciting dialogue between drawing - "the process". Sketches objects and shapes idealizing ideas and thoughts, rehabilitate materializing the ideals and giving them new uses and new functions in order to integrate into new realities: exercise and follow the intricacies of the design is consciously define the conceptual path of the architectural design. The design is an instrument for their ease of handling and multiparity of uses, allows develop a method of research and effective analysis for the validation options taken during the conceptualization of the project and acquire the tools essences present in design serving the instrumental needs of the project. The thoughts and ideas that are generated in our conscious gain form and expression on the surface of the paper, or any other medium that allows recording all this information we set out to register. The act of drawing supports all this recreation and the desired vision, representing and expressing not only the actual situation but also the abstract. For the evolution of this work in particular were important authors such as Eduardo Corte - Real, Ana Leonor Rodrigues, Open Carneiro, Domingos Tavares as well as Siza Vieira, Oscar Niemeyer and Louis Kahn and Frank Gehry. The initial authors allowed me a general approach to the problem of architectural design, now a historical approach, sometimes as originator of thought. The last allowed me to focus reflection on the drawing learning as a key instrument in practice the process designed in the work of these authors. Having regard to the study conducted on the subject of design and their domains, enhanced by the individual careers of authors in evidence and personal experience, I finish the theoretical knowledge in procedural analysis of V. Project intend to do here an overview of the reflections and ramblings initially outlined giving rise to the consolidated project in V. design discipline. I believe in a personal definition of architecture, based on personal experiences, learning and personal bond, one that is being built along our personal training and full of incompleteness overflows into the life of one architect questioning and constant attitude.
Descrição: Exame público realizado em 24 Novembro 2015.
Dissertação de mestrado realizada no âmbito do Mestrado em Arquitectura.
URI: http://hdl.handle.net/11067/2096
Tipo de Documento: Dissertação de Mestrado
Aparece nas colecções:[ULP-FAA] Dissertações

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do_desenho_a_arquitetura_o_desenho_como_instrumento.pdf152,37 MBAdobe PDFVer/Abrir
Declaração de autorização Edi.pdfDeclaração de autorização427,05 kBAdobe PDFVer/Abrir


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