Engramma 207 investigates the distance between drawing for architecture and drawing for art in the awareness that, although this represents a common medium for human thought activities, there are clear differences with respect to the semantic aspects linked to the sign. These differences are the result of compositional techniques that draw on very different traditions; for example, the way in which the human figure occupies space in a work of painting and the way in which this, conversely, occupies space in an architectural drawing. It was precisely from this example that it seemed necessary t