<?xml version="1.0" encoding="UTF-8"?>
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  <title>DSpace Collection:</title>
  <link rel="alternate" href="https://hdl.handle.net/10216/26705" />
  <subtitle />
  <id>https://hdl.handle.net/10216/26705</id>
  <updated>2026-07-10T14:33:30Z</updated>
  <dc:date>2026-07-10T14:33:30Z</dc:date>
  <entry>
    <title>Frontispiece Precipice</title>
    <link rel="alternate" href="https://hdl.handle.net/10216/174486" />
    <author>
      <name />
    </author>
    <id>https://hdl.handle.net/10216/174486</id>
    <updated>2026-06-02T06:41:32Z</updated>
    <published>2026-01-01T00:00:00Z</published>
    <summary type="text">Title: Frontispiece Precipice</summary>
    <dc:date>2026-01-01T00:00:00Z</dc:date>
  </entry>
  <entry>
    <title>Do Desenho de uma Construção para a Construção do Desenho</title>
    <link rel="alternate" href="https://hdl.handle.net/10216/142025" />
    <author>
      <name />
    </author>
    <id>https://hdl.handle.net/10216/142025</id>
    <updated>2024-07-28T06:18:19Z</updated>
    <published>2021-01-01T00:00:00Z</published>
    <summary type="text">Title: Do Desenho de uma Construção para a Construção do Desenho</summary>
    <dc:date>2021-01-01T00:00:00Z</dc:date>
  </entry>
  <entry>
    <title>Um Quarto é o Início da Arquitectura</title>
    <link rel="alternate" href="https://hdl.handle.net/10216/156759" />
    <author>
      <name />
    </author>
    <id>https://hdl.handle.net/10216/156759</id>
    <updated>2024-02-19T07:18:59Z</updated>
    <published>2018-01-01T00:00:00Z</published>
    <summary type="text">Title: Um Quarto é o Início da Arquitectura</summary>
    <dc:date>2018-01-01T00:00:00Z</dc:date>
  </entry>
  <entry>
    <title>«As práticas de desenho na FAUP. Uma amostra, um confronto e algumas notas» in Ver, querer ver, dar a ver. Desenhar entre fronteiras na Universidade do Porto, Coleção ATELIER. i2ADS e U.Porto Press, 2021,m pp.140-141. ISBN 978-989-9049-09-3</title>
    <link rel="alternate" href="https://hdl.handle.net/10216/153870" />
    <author>
      <name />
    </author>
    <id>https://hdl.handle.net/10216/153870</id>
    <updated>2023-11-09T07:20:41Z</updated>
    <published>2021-01-01T00:00:00Z</published>
    <summary type="text">Title: «As práticas de desenho na FAUP. Uma amostra, um confronto e algumas notas» in Ver, querer ver, dar a ver. Desenhar entre fronteiras na Universidade do Porto, Coleção ATELIER. i2ADS e U.Porto Press, 2021,m pp.140-141. ISBN 978-989-9049-09-3</summary>
    <dc:date>2021-01-01T00:00:00Z</dc:date>
  </entry>
  <entry>
    <title>«Uma esperança de cores para todos os dias. Os cadernos de pinturas de Virgínia Mota / A hope of colours for every day. Virgínia Mota's paitings sketchbooks» in Virgínia Mota, Diário Atmosférico</title>
    <link rel="alternate" href="https://hdl.handle.net/10216/153836" />
    <author>
      <name />
    </author>
    <id>https://hdl.handle.net/10216/153836</id>
    <updated>2023-11-09T07:17:51Z</updated>
    <published>2022-01-01T00:00:00Z</published>
    <summary type="text">Title: «Uma esperança de cores para todos os dias. Os cadernos de pinturas de Virgínia Mota / A hope of colours for every day. Virgínia Mota's paitings sketchbooks» in Virgínia Mota, Diário Atmosférico</summary>
    <dc:date>2022-01-01T00:00:00Z</dc:date>
  </entry>
  <entry>
    <title>«"No Atelier" de Aurélia de Souza. O auto-retrato e as suas (in)distinções» / "In the Studio" of Aurelia de Souza: The self-portrait and its (in)distinctions» in Vida e Segredo / Aurélia de Sousa, Evocação 1922-2022, catálogo exposição, Museu Nacional de Soares dos Reis, Porto, Novembro 2022,pp. 30-34. ISBN 978-972-77660-7-9</title>
    <link rel="alternate" href="https://hdl.handle.net/10216/153813" />
    <author>
      <name />
    </author>
    <id>https://hdl.handle.net/10216/153813</id>
    <updated>2023-11-09T07:16:51Z</updated>
    <published>2022-01-01T00:00:00Z</published>
    <summary type="text">Title: «"No Atelier" de Aurélia de Souza. O auto-retrato e as suas (in)distinções» / "In the Studio" of Aurelia de Souza: The self-portrait and its (in)distinctions» in Vida e Segredo / Aurélia de Sousa, Evocação 1922-2022, catálogo exposição, Museu Nacional de Soares dos Reis, Porto, Novembro 2022,pp. 30-34. ISBN 978-972-77660-7-9</summary>
    <dc:date>2022-01-01T00:00:00Z</dc:date>
  </entry>
  <entry>
    <title>Duas Casas Quase Iguais</title>
    <link rel="alternate" href="https://hdl.handle.net/10216/146300" />
    <author>
      <name />
    </author>
    <id>https://hdl.handle.net/10216/146300</id>
    <updated>2022-12-09T07:22:31Z</updated>
    <published>2016-01-01T00:00:00Z</published>
    <summary type="text">Title: Duas Casas Quase Iguais</summary>
    <dc:date>2016-01-01T00:00:00Z</dc:date>
  </entry>
  <entry>
    <title>Tanto Chão</title>
    <link rel="alternate" href="https://hdl.handle.net/10216/146228" />
    <author>
      <name />
    </author>
    <id>https://hdl.handle.net/10216/146228</id>
    <updated>2022-12-08T07:20:41Z</updated>
    <published>2016-01-01T00:00:00Z</published>
    <summary type="text">Title: Tanto Chão</summary>
    <dc:date>2016-01-01T00:00:00Z</dc:date>
  </entry>
  <entry>
    <title>Resilience and joy</title>
    <link rel="alternate" href="https://hdl.handle.net/10216/146117" />
    <author>
      <name />
    </author>
    <id>https://hdl.handle.net/10216/146117</id>
    <updated>2022-12-06T07:25:04Z</updated>
    <published>2021-01-01T00:00:00Z</published>
    <summary type="text">Title: Resilience and joy</summary>
    <dc:date>2021-01-01T00:00:00Z</dc:date>
  </entry>
  <entry>
    <title>Comum e Luminoso</title>
    <link rel="alternate" href="https://hdl.handle.net/10216/146110" />
    <author>
      <name />
    </author>
    <id>https://hdl.handle.net/10216/146110</id>
    <updated>2022-12-06T07:24:52Z</updated>
    <published>2019-01-01T00:00:00Z</published>
    <summary type="text">Title: Comum e Luminoso</summary>
    <dc:date>2019-01-01T00:00:00Z</dc:date>
  </entry>
  <entry>
    <title>Pureza e Perigo</title>
    <link rel="alternate" href="https://hdl.handle.net/10216/146102" />
    <author>
      <name />
    </author>
    <id>https://hdl.handle.net/10216/146102</id>
    <updated>2022-12-06T07:24:37Z</updated>
    <published>2012-01-01T00:00:00Z</published>
    <summary type="text">Title: Pureza e Perigo</summary>
    <dc:date>2012-01-01T00:00:00Z</dc:date>
  </entry>
  <entry>
    <title>Valorização do Mosteiro de Santa Clara-a-Velha</title>
    <link rel="alternate" href="https://hdl.handle.net/10216/146050" />
    <author>
      <name />
    </author>
    <id>https://hdl.handle.net/10216/146050</id>
    <updated>2022-12-06T07:21:30Z</updated>
    <published>2009-01-01T00:00:00Z</published>
    <summary type="text">Title: Valorização do Mosteiro de Santa Clara-a-Velha</summary>
    <dc:date>2009-01-01T00:00:00Z</dc:date>
  </entry>
  <entry>
    <title>Valorização do Mosteiro de Santa Clara-a-Velha, Coimbra, Portugal</title>
    <link rel="alternate" href="https://hdl.handle.net/10216/146042" />
    <author>
      <name />
    </author>
    <id>https://hdl.handle.net/10216/146042</id>
    <updated>2022-12-05T07:25:55Z</updated>
    <published>2018-01-01T00:00:00Z</published>
    <summary type="text">Title: Valorização do Mosteiro de Santa Clara-a-Velha, Coimbra, Portugal</summary>
    <dc:date>2018-01-01T00:00:00Z</dc:date>
  </entry>
  <entry>
    <title>Sizígia e A Casa do Lado no Festival Cinecoa 2012</title>
    <link rel="alternate" href="https://hdl.handle.net/10216/146041" />
    <author>
      <name />
    </author>
    <id>https://hdl.handle.net/10216/146041</id>
    <updated>2022-12-05T07:25:53Z</updated>
    <published>2012-01-01T00:00:00Z</published>
    <summary type="text">Title: Sizígia e A Casa do Lado no Festival Cinecoa 2012</summary>
    <dc:date>2012-01-01T00:00:00Z</dc:date>
  </entry>
  <entry>
    <title>Sizígia no Indie Lisboa 2013</title>
    <link rel="alternate" href="https://hdl.handle.net/10216/146028" />
    <author>
      <name />
    </author>
    <id>https://hdl.handle.net/10216/146028</id>
    <updated>2022-12-05T07:25:00Z</updated>
    <published>2013-01-01T00:00:00Z</published>
    <summary type="text">Title: Sizígia no Indie Lisboa 2013</summary>
    <dc:date>2013-01-01T00:00:00Z</dc:date>
  </entry>
  <entry>
    <title>Sizígia no Festival du court-métrage Clermont-Ferrand 2013</title>
    <link rel="alternate" href="https://hdl.handle.net/10216/146000" />
    <author>
      <name />
    </author>
    <id>https://hdl.handle.net/10216/146000</id>
    <updated>2022-12-05T07:22:13Z</updated>
    <published>2013-01-01T00:00:00Z</published>
    <summary type="text">Title: Sizígia no Festival du court-métrage Clermont-Ferrand 2013</summary>
    <dc:date>2013-01-01T00:00:00Z</dc:date>
  </entry>
  <entry>
    <title>O porto do Porto</title>
    <link rel="alternate" href="https://hdl.handle.net/10216/67797" />
    <author>
      <name />
    </author>
    <id>https://hdl.handle.net/10216/67797</id>
    <updated>2022-10-13T16:45:43Z</updated>
    <published>2012-01-01T00:00:00Z</published>
    <summary type="text">Title: O porto do Porto
Abstract: A actividade portuária é historicamente vital para a cidade: justifica a sua localização, posicionou-a, deu-lhe relevância na região e no mundo e alimentou o seu desenvolvimento económico e urbano de modo contínuo desde a fixação dos primeiros povoados aos nossos dias. Hoje, esvaziado dessa função de "estrada de água", o rio Douro é, fundamentalmente, um suporte cenográfico que alimenta um impulso de urbanização onde a relação com o rio é radicalmente diferente dessa condição portuária: passeios turísticos de barco, esplanadas e percursos ribeirinhos, ou novos empreendimentos residenciais de luxo onde antes era armazém, fábrica ou entreposto.
Com base nestas evidências construidas que ainda persistem, pretende-se com este trabalho a construção de uma narrativa que permita compreender e informar as transformações nas formas e dinâmicas que ocorrem no Douro pós "Faina Fluvial". Essas transformações ora são narradas em cronologias quase lineares marcadas por episódios marcantes (a função portuária antes do caminho-de-ferro; as modificações introduzidas pela industrialização; a localização de infraestruturas de transporte e produção de energia; as pontes e travessias, etc.), ora revisitam velhas tendências como a relação entre antigas quintas e casas de vilegiatura e os novos residentes que vieram com a nobilitação das margens do rio.</summary>
    <dc:date>2012-01-01T00:00:00Z</dc:date>
  </entry>
  <entry>
    <title>Contributo de Carla Garrido de Oliveira e Mariana Sá</title>
    <link rel="alternate" href="https://hdl.handle.net/10216/133398" />
    <author>
      <name />
    </author>
    <id>https://hdl.handle.net/10216/133398</id>
    <updated>2022-10-13T21:49:48Z</updated>
    <published>2020-01-01T00:00:00Z</published>
    <summary type="text">Title: Contributo de Carla Garrido de Oliveira e Mariana Sá</summary>
    <dc:date>2020-01-01T00:00:00Z</dc:date>
  </entry>
  <entry>
    <title>O Princípio da Inércia</title>
    <link rel="alternate" href="https://hdl.handle.net/10216/64707" />
    <author>
      <name />
    </author>
    <id>https://hdl.handle.net/10216/64707</id>
    <updated>2022-10-12T11:33:23Z</updated>
    <published>2012-01-01T00:00:00Z</published>
    <summary type="text">Title: O Princípio da Inércia</summary>
    <dc:date>2012-01-01T00:00:00Z</dc:date>
  </entry>
</feed>

