In the early 1980s, the Auckland School of Architecture already known as the "Drawing School" which operated on the more peripheral margins of the debate, faced the theoretical turning point within its teachings. One of the most influential theories on the deconstructive possibilities of architectural discourse, it sailed with great success between the two hemispheres shortly after Mark Wigley left school at the end of his doctorate on this subject. What remains unnoticed, however, is the relationship of complicity between the affirmation of that theoretical thought and the consolidated tradition of the school in the field of representation. Starting from an axonometric composition produced in those years, the contribution examines the tension between drawing as mental space and material space, revealing the unexpected possibilities of insinuating a real counter-argument with respect to the same theoretical framework from which that composition seemed to descend.