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Traçar a Percepção. Um estudo sobre o Desenho, a Arquitectura e a Experiência Sensorial.
| Summary: | Having the question of "why is Drawing such an important subject in the Faculty of Architecture of the University of Oporto (FAUP)?" in mind, it was decided that a research was needed in order to understand the reason why the act of drawing works so smoothly as a complementary tool in project designing. Herein, the study was led towards the Phenomenology of Perception, touching the main issues regarding the cognitive reasoning while aiming for a better understanding of the complicity which ties Drawing and Architecture together, considering that both originate from our own sensorial involvement with the world. After having established which aspects play the leading role in the field of perception, as well as having concluded that the five senses are complementarily intertwined, it was examined how to optimize our multisensory interaction with the world through the use of drawing. Such premise is quite relevant nowadays, considering vision is often regarded as the main sensory modality, and that the eye is excessively enticed and stimulated by random imagery on a daily basis. This kind of unbalanced sensorial state threatens to dumb down our bodily haptic connections to the outside world. This problem also concerns architecture, since it affects the way we perceive space, materiality, and the building's ambience, as well as the way we project and design. This analysis is followed by a practical exemplification which is intended to show the way drawing can help bring back the body's haptic sensibility. Thus, Souto de Moura's and Álvaro Siza's methodologies, thoughts and work were chosen to be examined here, along two buildings they designed, Casa das Artes and FAUP, in a journey through some familiar spaces which are bound to be regarded differently this time, since new embodied knowledge has been gathered in the process of writing the previous chapters. |
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| Subject: | Arts Artes |
| Country: | Portugal |
| Document type: | master thesis |
| Access type: | Open |
| Associated institution: | Repositório Aberto da Universidade do Porto |
| Language: | Portuguese |
| Origin: | Repositório Aberto da Universidade do Porto |
| Summary: | Having the question of "why is Drawing such an important subject in the Faculty of Architecture of the University of Oporto (FAUP)?" in mind, it was decided that a research was needed in order to understand the reason why the act of drawing works so smoothly as a complementary tool in project designing. Herein, the study was led towards the Phenomenology of Perception, touching the main issues regarding the cognitive reasoning while aiming for a better understanding of the complicity which ties Drawing and Architecture together, considering that both originate from our own sensorial involvement with the world. After having established which aspects play the leading role in the field of perception, as well as having concluded that the five senses are complementarily intertwined, it was examined how to optimize our multisensory interaction with the world through the use of drawing. Such premise is quite relevant nowadays, considering vision is often regarded as the main sensory modality, and that the eye is excessively enticed and stimulated by random imagery on a daily basis. This kind of unbalanced sensorial state threatens to dumb down our bodily haptic connections to the outside world. This problem also concerns architecture, since it affects the way we perceive space, materiality, and the building's ambience, as well as the way we project and design. This analysis is followed by a practical exemplification which is intended to show the way drawing can help bring back the body's haptic sensibility. Thus, Souto de Moura's and Álvaro Siza's methodologies, thoughts and work were chosen to be examined here, along two buildings they designed, Casa das Artes and FAUP, in a journey through some familiar spaces which are bound to be regarded differently this time, since new embodied knowledge has been gathered in the process of writing the previous chapters. |
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