ABSTRACT

Amâncio d’Alpoim Miranda “Pancho” Guedes, professor at the University of the Witwatersrand from 1975 to 1990, curated narratives within the passages of the architecture building with commissioned and found images and artefacts. In this way, after his exile from Mozambique, he extended his private practice of collecting African artefacts as a resource for design to his educational role in South Africa. The three referents for architecture that his friend in Team 10, Aldo van Eyck, had articulated in the Otterlo Circles diagrams – archaic or traditional, classical and modern – formed the categories for these displays of material. Guedes curated drawings from discrete colonial and modernist archives and commissioned images and models in critical relations that usurped conventional categories. Reconstructing and mapping those objects that remain on display allows a reading of them as a mute but radical strategy of re-education, with a material hermeneutics embedded in their content and relations. In the pairings, framing and genres of the artefacts in the passages, Guedes counterposed architectural ontologies, so proposing new categories of referents, collectivism and identity for future architects.