By Ângela de Branco Lima Mingas, Luanda, Angola. Architect, Anthropologist.
The sketches of emptiness are a set created in addition to the visual perception of the two-dimensional world of drawing. I noticed other dimensions and in that sensitive experience, in that game of senses, the irreverent dash told me about materiality, rhythms, inertia, movement and with some care he even talked about sounds and silences. This playful dimension of the object imagined through drawing, allow me to speak of this work, describing the different scales of perception of the ensemble that it’s all homogeneous and that in my architect look, hide sleepy objects waiting for a moment to “exist”. This three-dimensional intention is possible in this work through three elements that make each piece a starting point; the localization; the sketches of the void are tax, central in their placement in the field of stroke. It is said without shyness. Is in the Centre, is the origin! Spatial relations; the multiple relationships that the gaps have between themselves, suggest the architectural logic of public, semi-public, semi-private and private. The Geometry; a predominance of pure forms and axis of force representing pure movement. Looking at this work in architectural perspective is an unstoppable impulse. For us, the architects, the void is the starting point of the creative process and a functional and symbolic element. Functional because it’s a stabilizer of the hard construction exercise and symbolic by the experiential dimension, which is predestined since the first moment of creation. This last characteristic is an exclusive property of architecture comparative to other arts, meaning, the enjoyment is experiential and not contemplative. And almost like a ritual that begins in the drawing, the stroke creates emptiness, emptiness creates space and space is the maximum dimension of architecture rather it’s to be seen as sacred or profane.
26 de April, 2022