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

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