Desenho da arcádia : a paisagem utópica:a sua permanência na prática da intervenção arquitetónica atual

Tese de doutoramento, Belas-Artes (Ciências da Arte), Universidade de Lisboa, Faculdade de Belas-Artes, 2014

Europa : paisagem e pensamento : um excurso sobre Teixeira de Pascoaes, Friedrich Hölderlin, José Marinho e Martin Heidegger

Tese de doutoramento, Filosofia (Filosofia em Portugal), Universidade de Lisboa, Faculdade de Letras, 2014

Estrutura e dinâmica dos habitats e da paisagem dos sítios Estuário do Sado e Comporta Galé : um contributo para a gestão e restauro ecológico

Tese de doutoramento, Geografia (Geografia Física), Universidade de Lisboa, Instituto de Geografia e Ordenamento do Território, 2014

A perspectiva linear e orgãnica na conceção do desenho de paisagem

This dissertation was primarily engaged in the study of linear and organic perspective applied to the drawing of landscape, considering the perspective as a fundamental tool in order to graphically materialize sensory experiences offered by the landscape / place to be drawn. The methodology consisted initially in the investigation of perspective theories and perspective representation methods applied to landscape drawing, followed by practical application to a specific case. Thus, within the linear perspective were analyzed and explained: the visual framing, the methods of representation based on the descriptive geometry and also the design of shadows and reflections within the shadows. In the context of organic perspective were analyzed and described techniques utilizing depth of field, the color, or fading and overlapping and light-dark so as to add depth to the drawing. It was also explained a set of materials, printing techniques and resources, which by means of practical examples executed by different artists over time, show the perspectives’ drawings and application of theory. Finally, a set of original drawings was prepared in order to represent a place of a specific case, using for this purpose the theories and methods of linear and organic perspective, using different materials and printing techniques. The drawings were framed under the "project design", starting with the horizontal and vertical projections of a landscape architecture design to provide different views of the proposed space. It can be concluded that the techniques and methods described and exemplified, were suitable, with some adjustments, to the purpose it was intended, in particular in the landscape design conception, bringing to reality the pictorial sense world perceived by the human eye

Campos de Deméter: da impossibilidade de separar a ciência, a ética e a estética na hermenêutica da paisagem

Central conceptual terms, such as ‘culture’, ‘environment’, ‘nature’ and ‘landscape’, are far from being neutral scientific objects. They are academic constructions which need to be understood in their emergence across their historic contexts. Morality is a cultural expression determined by social domination and historical context, which gives it a sectary character. We need a moral theory that can be universal, timeless and that is able to guide the individual conduct, science and political ideologies, without considering the man the zenith of Life. Life, with its biodiversity, is only the tip of a complex Cosmos evolution, but we don’t know if our species, born on planet Earth, are the final link in the Cosmos evolution. To answer all these questions, a new ethical perspective was born, a theory built upon the principles of meta-ethics and applicable to all human activities. Environmental ethics are supported by two principles – the critique against anthropocentrism and the critique against ethnocentrism, giving a universal answer to the macro moral problems of our era – environmental, social, economical and political crisis, war and weapons of mass destruction… And contributes towards rebuilding the human activities in all domains of individual and social life.

O desenho à maneira dos mestres como metalinguagem

Relatório da Prática de Ensino Supervisionada, Mestrado em Ensino de Artes Visuais, Universidade de Lisboa, 2011

Turismo no Aït Bouguemmez (Alto Atlas Central, Marrocos) : representações sociais do turismo e dos seus impactes na perspetiva da comunidade local

Tese de doutoramento, Turismo (Planeamento dos Espaços Turísticos), Universidade de Lisboa, Instituto de Geografia e Ordenamento do Território, 2014

Caracterização de ambientes de transição do SW Alentejano a distintas escalas temporais

Tese de doutoramento, Geologia (Geologia Económica e do Ambiente), Universidade de Lisboa, Faculdade de Ciências, 2016

Wildfire susceptibility modelling in mainland Portugal

Tese de doutoramento, Geografia (Geografia Física), Universidade de Lisboa, Instituto de Geografia e Ordenamento do Território, 2015

O filho único na sociedade portuguesa: contributo sociológico para a compreensão da baixa natalidade

A descendência de filho único é um dado marcante da paisagem demográfica portuguesa, que importa analisar pelo impacto que tem nos níveis de fecundidade, mas também pelo que revela da complexidade inerente à procriação nas sociedades contemporâneas. Esta descendência tem lugar no quadro da modernização dos comportamentos reprodutivos (vigilância, adiamento) e consubstancia, em regra, um cenário de contenção: o compromisso entre ideais de fecundidade modelados pela norma dos dois filhos e os custos inerentes à procriação. Logo, apresenta contornos distintos nos diferentes meios sociais, em função dos recursos e das competências aí existentes.

The transformation of landscape as as aesthetic idear

The present study seeks to thoroughly investigate and delineate the concept alongside the transformation of landscape as an aesthetic idea. On the one side it runs that nature perceived as landscape remains nothing else but granted, evident or 'natural'. On yet another side, and to some fairly significant extend, this thesis identifies landscape as a sheer idea and concept that is shaped and (re-)mediated in an ongoing process. The thesis examines the role of the observer and brings into agreement that every landscape is a produce of creative mental processes. In brief outline, this approach provides a framework for identifying landscape as being inextricably linked with media from the very beginning of their social and cultural inception. As glowing examples for the paradigmatic shift of the classical subjective vision model culminating in the emergence of a new prototype, the camera obscura, together with the panorama, fortify the prevailing argument that the mode of human sense perception is organised and determined by earlier acquainted recognitions. In this matter, as each and every medium strive after accomplishment, then this accomplishment is substantially determined by overwhelming historic, as well as thriving cultural circumstances. In conclusive terms, this study seeks to show how landscape counts as content of a representation, while simultaneously being a very own medium that specifically carries social, geological as well as historic knowledge. In fact, modern vision shall therefore never be bound to any single format or process, rather it will have to always undergo procedures aiming at reshaping the perceivable. Landscape is playing out its major characteristic, specifically that of being, in essence, a purely intellectual, virtual and synthetic product