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himself came to MIT to study the architectural design practice after being a consultant and his reflective proposal went back immediately to business school education.
Figure 6 Juan Navarro Baldeweg. House in Lierganes, Santander, 1979. Site plan. Ink on paper.
We do not have a clear explanation of why drawing seems to prevent certain types of dogmatisms, as it is evident in the work of Juan Navarro Baldeweg (Navarro, 2007) and some other artist-architects like Alvaro Siza and Steven Holl. It might be that drawing’s specific completeness, equidistant from perception and intellectualization, works as a break against abstractionist and dualist temptations. The fact that even those products of architectural virtualism that hang on the walls of some of the most important art museums do so thanks to its expressive quality, revives the faith that drawing can tilt the curse or cure dilemma of reflexiveness clearly in favor of art and artistic attitudes.
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