The Sona drawings, plural of Lusona, were part of the tradition of the Tchokwe People. It is known in eastern Angola and close to the borders of Zambia and Congo. The drawings were made in the sand only by men, as a way to tell a story or show the reality of them (with representations of daily, nature, animals and people). It was part of the boys' rite of passage to adulthood to learn to draw Sona and tell stories.
Mathematical concepts such as Combinatorial Analysis, Minimum Common Multiple and Maximum Common Divisor were used instinctively, since the Tchokwe people had no knowledge of the formulas and math of the graphs. First, the soil was cleaned and flattened with the hand, and with the fingertips it was drawn an grid of points with carefully proportional spaces. Subsequently, the narrator traced lines - straight and curves with a 45 degree inclination - around the points without taking his fingers from the sand until finishing the drawing.
The Sona drawings, plural of Lusona, were part of the tradition of the Tchokwe People. It is known in eastern Angola and close to the borders of Zambia and Congo. The drawings were made in the sand only by men, as a way to tell a story or show the reality of them (with representations of daily, nature, animals and people). It was part of the boys' rite of passage to adulthood to learn to draw Sona and tell stories.
Mathematical concepts such as Combinatorial Analysis, Minimum Common Multiple and Maximum Common Divisor were used instinctively, since the Tchokwe people had no knowledge of the formulas and math of the graphs. First, the soil was cleaned and flattened with the hand, and with the fingertips it was drawn an grid of points with carefully proportional spaces. Subsequently, the narrator traced lines - straight and curves with a 45 degree inclination - around the points without taking his fingers from the sand until finishing the drawing.
The Sona drawings, plural of Lusona, were part of the tradition of the Tchokwe People. It is known in eastern Angola and close to the borders of Zambia and Congo. The drawings were made in the sand only by men, as a way to tell a story or show the reality of them (with representations of daily, nature, animals and people). It was part of the boys' rite of passage to adulthood to learn to draw Sona and tell stories.
Mathematical concepts such as Combinatorial Analysis, Minimum Common Multiple and Maximum Common Divisor were used instinctively, since the Tchokwe people had no knowledge of the formulas and math of the graphs. First, the soil was cleaned and flattened with the hand, and with the fingertips it was drawn an grid of points with carefully proportional spaces. Subsequently, the narrator traced lines - straight and curves with a 45 degree inclination - around the points without taking his fingers from the sand until finishing the drawing.
AZINOM
CENTER
THERAPY CENTER / RESTAURANT / SERVICES
A central garden which access to all functional units of the center alternative medicines and spiritual well-being. The looks and the circulations converge from and to the building where landscape and green participate in the project. Transparent and engaging transition spaces, in line with the transitions of spirit.
Communicators but autonomous, without cross paths, the gradations in spatial functionality are guaranteed by the distribution of four areas: social and service areas (with auditorium, restaurant, terrace, event rooms), treatment area, training area and psycho-motor practice area. Zenithal illuminations and circles allow to read the sun's shaded paths and paint chromatic variations on the interiors.
LOCATION
Moita, Portugal
YEAR
2011
IMPLANTATION AREA
4978 m²
SQUARE FOOTAGE OF THE LOT
1,5 ha