ABSTRACT
This research presents a preliminary approach to the possibilities of drawing to explore and unfold some unusual relations between architecture and cosmology and within architecture itself. This approach is carried out in the context of the Renaissance. By using the drawing as a main tool/source, the historiographical inquiry moves within the specific realm of architecture. At the same time, simultaneously push boundaries between the historical, the formal, the cultural, and the scientific approaches, therefore taking a clear inter and transdisciplinary stance. The research is presented in a conventional text format, along with drawings, thus being both the approach and the aim graphic. By unifying plans, sections, perspectives, facades, and schemes, into one single entity – the drawing form – said convergences, divergences, disruptions, and joints, can be better explained, namely in a time when the humanistic paradigm was a holistic one.
