“In hands of the architect, the la’piz constitutes a bridge between the mind that he imagines and the image that appears in the leaf of paper; in the ecstasy of the work, the draftsman forgets both his hand and the pencil and the image emerges as if it was an automatic projection of the mind that he imagines; or probably it is the hand the one that really he imagines while it exists in the life of the world, the reality of the space, matter and time, the physical condition itself of the imagined object.”
Juhani Pallasmaa, –The hand that he thinks-.
The skills, the creative intelligence and the conceptual capacities of everything that one that seeks to satisfy a result fi’sico spend always for the channel of our most prepared, more skilful and capable extremity, and there there takes place a luck of magic, unexpected translation. It emerges a fascination, an uncontrolled attraction, a charm that the atencio’n moves, and dislocates the meaning.
Under the drawing of the attentive hand it is much more than a representation. There appear codes of interpretation that arise from the memory and of this wisdom that, really, is existential but also corporal. The hand holds an immense power of transformation and imagination.
The pencil draws not only what sees, also what it is possible to manage to see, beyond the immediate thing. And this generous extent provokes that the hand and his drawing are capable of altering the spirit and the intention.
Sometimes, often, it gives the sensation that the drawing was not born of the mind of the one that realizes it. It seemed that it had own life and was arising from a not recognizable place. But the hand, it is palpable, has been the one who has produced it. His movements, we might think that unconscious, they have derived in a product so essential as amazing.
It is there and his reading and translation they can lead to new reflections and sensations. Do not be know porqué, but he says things that before this drawing appears were not.
On our capacity of surprise and spell before what it reveals the hand our power of transformation depends.
Not uselessly the verb to draw comes from the Frenchman “deboisser“, literally – to work in wood-. And of ahií one has come to bring together everything related with debastar, to outline, esculpir … and to act.
Sergio de Miguel, PhD architect
Madrid, november 2017
Published in educational Group and of investigation for the architecture Group 4! Of the ETSAM.
Ph.D. Arquitectura, Universidad Politécnica de Madrid, (ETSAM) 2016.
M.A. Arquitectura, Universidad Politécnica de Madrid, (ETSAM) 1990.
Profesor en la Universidad Politécnica de Madrid, (ETSAM) desde 1995.