Rui Lobo
Universidade de Coimbra, Departamento de Arquitectura FCTUC / CES, Faculty Member
Colóquio Internacional Sobre Recosntituições 3D de Património Arquitetónico Desaparecido (3 de Abril de 2019)
International Colloquium on 3D Reconstituions of Lost Architectural Heritage (April 3rd, 2019)
International Colloquium on 3D Reconstituions of Lost Architectural Heritage (April 3rd, 2019)
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Upon his arrival in Coimbra, in about 1528, Jean de Rouen immediately started working for the Monastery of Santa Cruz, of the Canons Regular of St. Augustine. The house was undergoing a spiritual and physical reformation ordered by John... more
Upon his arrival in Coimbra, in about 1528, Jean de Rouen immediately started working for the Monastery of Santa Cruz, of the Canons Regular of St. Augustine. The house was undergoing a spiritual and physical reformation ordered by John III, with the Hieronymite Friar Brás de Braga in charge. Jean de Rouen, sculptor, or “imagineer”, was commissioned with some ornamental architectural pieces, such as arches and doorways, where he applied the new language of the Renaissance – as, for example, the arch of the high choir of the church, framed by a classic
composition of pilasters, entablature and a pair of tondi. Simultaneously, he also became responsible for those space-containing architectural structures such as a small chapel amongst the Silence cloister, or the Manga cloister fountain tempietto. In this paper we aim to analyse Jean de Rouen’s work at Santa Cruz, during the first phase of his Portuguese career, and the growing scope of his artistic activity from the scale of sculpture to that of architecture.
composition of pilasters, entablature and a pair of tondi. Simultaneously, he also became responsible for those space-containing architectural structures such as a small chapel amongst the Silence cloister, or the Manga cloister fountain tempietto. In this paper we aim to analyse Jean de Rouen’s work at Santa Cruz, during the first phase of his Portuguese career, and the growing scope of his artistic activity from the scale of sculpture to that of architecture.
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In this paper we will try to show what was the spatial context of Francisco Suarez’s twenty year stay in Coimbra. We will try to briefly characterize the university town where he lived for the last and most productive period of his... more
In this paper we will try to show what was the spatial context of Francisco Suarez’s twenty year stay in Coimbra. We
will try to briefly characterize the university town where
he lived for the last and most productive period of his life;
and also the physical context of the College of Jesus (where
he supposedly slept and worked) and the College of Arts,
both of which were under construction. We will conclude
that Suárez, during his stay in Coimbra, would have lived
and worked amongst a large and rather hectic building site.
will try to briefly characterize the university town where
he lived for the last and most productive period of his life;
and also the physical context of the College of Jesus (where
he supposedly slept and worked) and the College of Arts,
both of which were under construction. We will conclude
that Suárez, during his stay in Coimbra, would have lived
and worked amongst a large and rather hectic building site.
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The College of Jesus, founded on 2nd July 1542 as an educational community of fathers and brothers, established in a couple of houses of uptown Coimbra, was, according to Francisco Rodrigues, “the first college of the Society of Jesus” –... more
The College of Jesus, founded on 2nd July 1542 as an educational community of fathers and brothers, established in a couple of houses of uptown Coimbra, was, according to Francisco Rodrigues, “the first college of the Society of Jesus” – apparently in the whole world. Its construction, as a new physical structure, took place from 14th April 1547, when the first stone was laid of the vast building that remains today. Two decades later, in 1568, the parallel construction of the College of Arts began, where the classes of the homonymous Faculty, controlled by the Jesuits, would take place.
In this essay we propose to reconstitute the constructive evolution of the Jesuit complex of Coimbra, along six prominent stages of its architectural history, until the suppression of the Jesuits from the Kingdom of Portugal in 1759. Each of the six phases will correspond to an interpretative schematic drawing, carried out from the analysis of the existing documentation for each period.
In this essay we propose to reconstitute the constructive evolution of the Jesuit complex of Coimbra, along six prominent stages of its architectural history, until the suppression of the Jesuits from the Kingdom of Portugal in 1759. Each of the six phases will correspond to an interpretative schematic drawing, carried out from the analysis of the existing documentation for each period.
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About three years ago, we began a process of systematic comparison between the written documentation concerning the Pombaline Reformation of the University of Coimbra (1772-1777) and the surveys, drawings and designs for the new... more
About three years ago, we began a process of systematic comparison between the written documentation concerning the Pombaline Reformation of the University of Coimbra (1772-1777) and the surveys, drawings and designs for the new scientific buildings, directed and produced by the British Lieutenant Colonel William Elsden. To that effect, we submitted a paper for the conference cycle «The University of Coimbra on the way to Contemporaneity», for the 19th Cultural Week of the University of Coimbra (dedicated to the theme «Who are we?»), which took place at Casa das Caldeiras in Coimbra, on 27 April, 2017.
The following year, we coordinated an exhibition of drawings of the Pombaline Reformation at the Machado de Castro National Museum (with Virginia Gomes, from October 2018 to February 2019). In this occasion, we were able to chronologically lay out a large collection of graphic pieces, a sequence which validated and reinforced our previous understanding of the facts. In this article (which is largely the result of the 2017 paper), we have resumed this creation of a chronological basis for dating some key designs that were made in the short span of just over a year, between late 1772 and early 1774. This sequence shows how the architecture of the Pombaline Reformation increased in scale and urban impact during this period, particularly in the designs of scientific institutions such as the Astronomical Observatory and the Chemical Laboratory. This increase was due, in part, to the natural development of the proposals, but also, and to a large extent, to Elsden’s competent performance and to the growing enthusiasm of the Marquis de Pombal towards the new designs.
The following year, we coordinated an exhibition of drawings of the Pombaline Reformation at the Machado de Castro National Museum (with Virginia Gomes, from October 2018 to February 2019). In this occasion, we were able to chronologically lay out a large collection of graphic pieces, a sequence which validated and reinforced our previous understanding of the facts. In this article (which is largely the result of the 2017 paper), we have resumed this creation of a chronological basis for dating some key designs that were made in the short span of just over a year, between late 1772 and early 1774. This sequence shows how the architecture of the Pombaline Reformation increased in scale and urban impact during this period, particularly in the designs of scientific institutions such as the Astronomical Observatory and the Chemical Laboratory. This increase was due, in part, to the natural development of the proposals, but also, and to a large extent, to Elsden’s competent performance and to the growing enthusiasm of the Marquis de Pombal towards the new designs.
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To accomplish the aims of a three-year research project we are developing, connected to cultural heritage, we became interested in the fusion of Virtual Reality and Augmented Reality, two emergent development fields that gave birth to... more
To accomplish the aims of a three-year research project we are developing, connected to cultural heritage, we became interested in the fusion of Virtual Reality and Augmented Reality, two emergent development fields that gave birth to what was coined as Mixed Reality. Both dimensions have intricate connections with hardware and software improvements related with the so called``4th Industrial Revolution''.Virtual Reality (VR), an interactive experience generated by a computer, takes place inside of simulated environments, which can be analogous to the real world or which can be created as imaginary contexts. On the other hand, Augmented Reality (AR) is always based in an interactive experience inside a tangible environment where the elements of that reality are nurtured with digital information, across several senses, to empathize certain aspects of reality. Our research combines both VR and AR to empathize sensory and intellectual experience. To do so, several senses, mainly visual and auditory, are stimulated.We therefore explore two Case-Studies from our research project in order to show two different strategies. The intention of both situations is to create immersive mixed reality environments where the fusion of the digital and analogue elements can be persistently sustained by the visual outputs.
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To fulfil the specific purposes of a three-year research project we are working on (to reconstitute the Monastery of Santa Cruz of Coimbra in 3D, and its situation in 1834, before the partial demolitions of the late 19th and early 20th... more
To fulfil the specific purposes of a three-year research project we are working on (to reconstitute the Monastery of Santa Cruz of Coimbra in 3D, and its situation in 1834, before the partial demolitions of the late 19th and early 20th centuries took place) we became interested in the possibilities of fusion between Augmented Reality and Virtual Reality-an interactive experience generated by a computer that takes place inside of a simulated environment. These two emergent development fields gave birth to what was recently coined as Mixed Reality and the environments created can be analogous to the real world or they can be based in imaginary environments. We have two basic aims for this initial research: first to create the tools to provide knowledge and wisdom (knowledge with emotions) around lost heritage. The second aim, profoundly related with the first one, is to create a methodology and software capable to surpass a Turing-type Test for Virtual and Augmented Reality, where the observer could be immersed in an environment where virtual outputs and feedback can be greater or, at least, similar to the real world.
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The Spanish College at Bologna, erected under the Castilian cardinal Gil Álvarez de Albornoz between 1365 and 1367, was the first purpose built college in the history of architecture. It is organized as a two floor square building,... more
The Spanish College at Bologna, erected under the Castilian cardinal Gil Álvarez de Albornoz between 1365 and 1367, was the first purpose built college in the history of architecture. It is organized as a two floor square building, arranged around a central patio with arches and galleries. The chapel is taller than the rest of the building and is placed perpendicularly to the college’s rear wing, in front of the college entrance. Spanish colleges, however, did not follow this disposition. In fact, they developed a specific typology with the high chapel integrated in the front wing, to the right of the college entrance, as was the case with the colleges of San Bartolomé at Salamanca (1413-1418) and Santa Cruz of Valladolid (1486-1491).
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Desdobrável da Exposição (Museu Nacional de Machado de Castro, 11 de Outubro de 2018 - 16 de Fevereiro de 2019. Curadores: Rui Lobo e Virgínia Gomes) Exhibition Leaflet (Machado de Castro National Museum, October 11th 2018 - February... more
Desdobrável da Exposição (Museu Nacional de Machado de Castro, 11 de Outubro de 2018 - 16 de Fevereiro de 2019. Curadores: Rui Lobo e Virgínia Gomes)
Exhibition Leaflet (Machado de Castro National Museum, October 11th 2018 - February 16th 2019. Curators: Rui Lobo and Virgínia Gomes)
Exhibition Leaflet (Machado de Castro National Museum, October 11th 2018 - February 16th 2019. Curators: Rui Lobo and Virgínia Gomes)
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The subject of History of Portuguese Architecture (HAP) originated in the School of Fine Arts of Oporto, more than three decades ago, under the mastership of Professor and Architect Alexandre Alves Costa. At the Architecture Course of... more
The subject of History of Portuguese Architecture (HAP) originated in the School of Fine Arts of Oporto, more than three decades ago, under the mastership of Professor and Architect Alexandre Alves Costa. At the Architecture Course of FCTUC – Faculty of Sciences and Technology of the University of Coimbra, HAP has been present from the very beginning. It started in 1992-93, as a subject of the 5th year, under the same Alexandre Alves Costa, then member of the Installing Commission of the course. Other professors who have ensured the subject in the last decade were Walter Rossa and the late Paulo Varela Gomes in addition to Rui Lobo, lecturer for the past five years.
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A Igreja de São Roque de Lisboa, levantada a partir de 1566, faz parte da “primeira geração” de igrejas jesuíticas portuguesas. A igreja que conhecemos hoje seria algo diferente, porém, da que foi acabada em finais do século XVI. Neste... more
A Igreja de São Roque de Lisboa, levantada a partir de 1566, faz parte da “primeira geração” de igrejas jesuíticas portuguesas. A igreja que conhecemos hoje seria algo diferente, porém, da que foi acabada em finais do século XVI. Neste texto, propomos a ideia de que terá sofrido alterações importantes ao longo da sua história, sobretudo no seu interior.
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No sentido mais lato, os colégios universitários levantados em Coimbra (e, em menor expressão, em Évora) a partir de meados do século XVI e até ao final do Antigo Regime não constituem um tipo específico da arquitectura portuguesa.... more
No sentido mais lato, os colégios universitários levantados em Coimbra (e, em menor expressão, em Évora) a partir de meados do século XVI e até ao final do Antigo Regime não constituem um tipo específico da arquitectura portuguesa. Existem, pelo menos, duas variantes tipológicas que têm que ver com a comunidade a que se destinavam os edifícios e com a resposta arquitectónica a que davam corpo. 1 Desde logo, há que distinguir os colégios ditos " regulares " , destinados a comunidades das ordens religiosas que se implantaram à sombra da universidade – e que são a grande maioria – dos colégios " seculares " , em menor número, destinados a futuros eclesiásticos e/ou a leigos. Depois, e do ponto de vista arquitectónico, se os primeiros colégios regulares se socorreram frequentemente do esquema planimétrico conventual, com uma igreja volumetricamente autónoma e de acesso externo ladeada por um claustro, em redor do qual se organiza o colégio propriamente dito (os casos dos colégios da Graça e do Carmo, na Rua da Sofia, ou os de São Jerónimo e da Trindade na Alta), já os pouco numerosos colégios seculares se podem filiar, por sua vez, na casa nobre ou no palácio urbano, ainda que sob várias formas, das quais a mais comum será a do bloco quadrangular organizado em torno de um pátio central. É sobre este último tipo de colégio, o colégio secular, e com uma atenção particular sobre o colégio de São Paulo, que nos debruçaremos nesta comunicação.