http://hdl.handle.net/10174/41 2026-05-28T17:50:27Z 2026-05-28T17:50:27Z Bezelga, Isabel http://hdl.handle.net/10174/42057 2026-05-27T10:06:57Z 2026-04-30T23:00:00Z

Title: Brave Women. The path of a collaborative dramaturgy between the stones of the city and the boards of the theatre Authors: Bezelga, Isabel Editors: Lima, Evelyn; Drago, Niuxa; Lyra, Carolina Abstract: his chapter aims to discuss issues related to the project As Bravas: silenced voices and female invisibility, developed within the scope of the research we are conducting at the Centre for Art History and Artistic Research (CHAIA), at the University of Évora, Portugal. Continuing our research on Performance, heritage and community, we focused on performative creation as a way of questioning the historical invisibility of women, giving space and voice to the silences that span centuries, deepening the processes of collaborative dramaturgy, not only as a method of sharing authorship, but as a political and poetic gesture of reinscribing collective memory.

2026-04-30T23:00:00Z Garção Lopes, Telmo http://hdl.handle.net/10174/42015 2026-05-15T09:19:01Z 2026-03-31T23:00:00Z

Title: Tecendo Portalegre. Perspetivas Multidisciplinares sobre um Património a Salvaguardar Authors: Garção Lopes, Telmo Abstract: A presente publicação constitui o resultado tangível de um momento científico, cultural e multidisciplinar: o Colóquio Tec(S)endo Portalegre, que decorreu nos dias 16 e 17 de maio de 2025, no Museu da Tapeçaria de Portalegre Guy Fino. Este evento, organizado pelo IN2PAST – Laboratório Associado de Investigação e Inovação em Património, Artes, Sustentabilidade e Território, através da colaboração entre o CESEM (Centro de Estudos de Sociologia e Estética Musical, Universidade Nova de Lisboa) e o CHAIA (Centro de História da Arte e Investigação Artística, Universidade de Évora), representou um marco importante na reflexão académica e na valorização das Tapeçarias de Portalegre como património cultural de relevância nacional e internacional. O título do colóquio, Tec(S)endo Portalegre, encerra em si uma polissemia intencional: por um lado, evoca o gesto técnico de tecer que está na génese destas obras; por outro, sugere a tessitura de uma rede de conhecimentos, perspectivas e colaborações que, tal como os fios coloridos que compõem as tapeçarias, se entrelaçam para formar um todo coeso e significativo. Esta publicação procura perpetuar esse gesto, oferecendo aos leitores não apenas um registo do evento, mas sobretudo um conjunto de reflexões aprofundadas que contribuem para o estudo e compreensão deste património ímpar.

2026-03-31T23:00:00Z Salema, Sofia Guilherme, Pedro http://hdl.handle.net/10174/41890 2026-04-22T14:24:07Z 2026-03-01T00:00:00Z

Title: Walking and drawing: Experimental pedagogies in architectural education at the university of Évora Authors: Salema, Sofia; Guilherme, Pedro Editors: Cirklová, J. Abstract: In an age of rapid digitization in architectural education, design studios are often dominated by computer modelling, standardized templates, and virtual simulations. This digital shift has brought efficiency and new capabilities, but it also risks detaching architectural learning from the tactile and contextual realities of place. In response, the architecture program at the University of Évora – a centre for the creation, transmission and dissemination of culture, science and art, which, through the combination of study, teaching and research, is integrated into the life of society – recentres embodied and situated design practices. Drawing from Donald Schön’s notion of the design studio as a locus of “reflection-in action”,1 our approach emphasizes learning through direct engagement with real environments. We posit walking, drawing, and redrawing as core methods for re-grounding architectural education in lived experience and critical reflection. Évora’s unique setting – a historic walled city surrounded by Alentejo landscapes – provides an ideal “living laboratory”2 for this approach, where students immerse themselves in the genius loci of place rather than solely in digital abstractions. By taking design learning back to the field and sketchbook, we aim to cultivate perceptive, contextually aware architects who can integrate the sensory and social dimensions of architecture with contemporary design challenges. This article elaborates on these pedagogical strategies as developed in the Design Studio and Urban Design units at Évora. It presents case studies of student work – such as Sylvie Claro’s walking-based exploration of Évora’s aqueduct, Gabriel Oliveira’s drawing-based inquiry into a riverine landscape, and Claudia Batista’s redrawing of Álvaro Siza’s sketchbooks – to illustrate how walking, drawing, and redrawing operate as tools of analysis, imagination and research. Through these examples, we reflect on themes of context, embodiment, time, and the pedagogical value of resisting the speed of purely digital design culture. By re-integrating slow, physical processes into architectural education, we argue for a richer, more critical mode of learning aligned with both local heritage and contemporary needs. This paper is structured to first describe the Évora context and studio framework, then delve into each core method and its theoretical underpinnings, and finally discuss the outcomes and broader implications of this experimental pedagogy.

2026-03-01T00:00:00Z Rocha, Leonor Alvim, Pedro http://hdl.handle.net/10174/41813 2026-04-15T10:34:50Z 2025-01-01T00:00:00Z

Title: Alto da Cruz (Mora, Portugal): um exemplo da diversidade e ritualidade megalítica. Authors: Rocha, Leonor; Alvim, Pedro Abstract: The group of menhirs of Alto da Cruz (Mora, Portugal) presents several exceptional characteristics which justify new lines of questioning, in regards to the diversity of the open megalithic monuments in the Alentejo and their chrono-cultural relations with funerary megalithism. The megalithic cruciform of Alto da Cruz was identified by the undersigned in August 2011 and archaeological work was carried out in 2012, which allowed the researchers to confirm its cruciform ground plan. In regards to the spatial composition of the group of menhirs and the possible connections to other nearby places, the particularly interesting relation with the Penedo das Almoinhas, the granite outcrop with rock paintings divulged by G. Zbysweski (Zbysweski et al., 1977a) in the 1970s, is noteworthy.

2025-01-01T00:00:00Z