A finales de la década de los treinta, alejándose del conflicto bélico que se había desatado en España y del que se presagiaba en Europa, Antonio Bonet llegó a Buenos Aires decidido a liderar la vanguardia arquitectónica. Para ello contaba con su formación moderna junto a Josep Lluis Sert en Barcelona y Le Corbusier en París y con sus experiencias en la corriente surrealista vividas en la propia capital francesa junto al pintor-arquitecto Roberto Matta Echaurren. Fruto de esta relación fueron los dibujos que el arquitecto catalán llevaba consigo al arribar a Argentina. Lo que se pretende desvelar en el artículo son las claves de la componente surrealista presente en el trabajo de Bonet de esos años a partir del análisis de los dibujos ¿algunos de ellos inéditos¿ y collages de época que le acompañaron en su viaje, intentando adivinar sus inquietudes y, por qué no decirlo, sus inevitables contradicciones.

Francisco Íñiguez es conocido por el trabajo realizado desde 1933 como arquitecto conservador del Patrimonio Arquitectónico de nuestro país y, muy especialmente, por haber sido el impulsor y artífice de la recuperación y restauración integral del Palacio de la Aljafería de Zaragoza. Pero también por sus dibujos de arquitectura, con los que solía ilustrar, en sus libros y artículos, los edificios objeto de su estudio.

In 1959 the renowned luxury firm Loewe decided to transform and renew its image and chose architect Javier Carvajal to accomplish the task. In facing the design of these stores, he found that the strategic equipment he had developed in the projects he had done until that moment, was here totally useless. Nonetheless, the architect dealt with the commission in a thorough definition process, with the same resolve of formal control he used in previous ones. Beyond the general plans of the stores, the interiors, furniture and details were drawn by his own hand, 1 to 1 scale most of the times. Constructive relations between elements and materials were established with total precision. Each and every joint, detail, attachment and screw was gathered up in a set of uncompromising drawings, pure graphic orders that composed a sort of virtual construction, born to avoid any error range.

Drawing has always been considered an instrument subordinated to the ultimate object of architecture: the real construction of the building. However, since the foundation of the discipline in the fifteenth century, this relationship has sometimes been questioned, altered, and even inverted, coming to confuse reality and its representation. Through the study of the Museum of Roman Art of Merida, by Rafael Moneo; the first urban projects carried out by Ricardo Bofill in France at the beginning of the 1980s; and the restoration project of the Chapel of San Isidro developed by Javier Velle's between 1986 and 1990, this Artículo delves into the last episode of this phenomenon. Due to the effort of its authors to carry out the liberal exercise of the profession, by means of the restitution of their specific instruments, these architectures would be conceived through the drawing, and it is possible to appreciate in their configuration the same types of illusions of the drawing. These works suggest a wish to bring reality closer to representation, transfering something pictorial to something stereotomic, and materialize those illusions previously deposited on the paper, with the techniques that made possible the physical building of architecture. Eventually, these works reveal the desire of its architects to build the drawing, but, ultimately, they will come to highlight the continuities and incompatibilities between the architecture trapped in the paper; and the production system that make it possible. [GRAPHICS] .