This article foregrounds freehand drawing’s untapped potential as vital interface between the body and architecture. Drawing’s heuristic role is substantiated by theories of dance, drawing and architecture education, which situate the affective/haptic kinaesthetic body at the centre of all experience, perception and conception. The insights brought to light through these philosophical perspectives are weaved together to justify (model) drawing’s significance and its capacity to transform our corporeal engagement with, and understanding of space. It establishes various points of entry into an epistemological re-evaluation of the place and pertinence of the body, drawing and sketching in architecture (education), through theories of improvisation and somaesthetics that address movement as a form of thinking.