Since the Renaiscence, drawing has been a main issue for the architects, so fundamental as study of the past. Their studies developed in a paralel way, promoting and stimulating each other. The work of architecture has a speci c integrity and an absolute closure: drawings help to decompose this integrity and to break its hermetism. The countless drawings made by Le Corbusier in travels during his study years are privileged exemples of this relationship: the buildings and its analitical drawings turned out to be stimulus for the architectural project.
Uma obra de arte é depositária de um enorme número de desenhos; uns indispensáveis para a definição e realização de sua forma, outros secundários, mas não menos importantes, sempre permaneceram ao largo daqueles definitivos em estado de espera. Ao longo do tempo, esse numero de desenhos pode ir se acumulando, essa a sua grande riqueza. Como alternativa de aproximação à essa fortuna podemos então seguir o conselho de João Cabral de Melo Neto no poema ‘A Educação pela Pedra” e, para aprender do desenho, como da pedra, outra vez frequentá-lo.
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