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In recent years, museums have undergone profound renovation, extending their functions from conservation to the production and promotion of culture. They no longer serve as ‘containers’ of works, but as places where knowledge is built, communicated, and shared in a complex system of relationships between subjects (institutions, curators, scholars, the public, visitors, the community, etc.), the heritage (material, immaterial, collections, the territory, the landscape, etc.), and digital technologies (interaction, immersion, virtual reality, augmented reality, performance, etc.). In this context, starting with the assertion that every act to conserve the heritage is naturally an act of communication, the aim is to propose a reflection on what the specific contributions of Representation may be.

Talking about design drawing means to seek relations between representation, design process and architectural theories. Thus the connection between contemporary architectural theories and the new representation form of diagram becomes clear. Now we want to analyze its features, provide its definitions drawn them from both theorerical studies (mainly about semiotic and philosophy) and examples from architectural practice by conlemporary architects.