Each graphic language emerges and is systematized historically as a response to a socio- cultural need of a certain era. Concerning the development of each of the graphic representation systems follows the Symbols grow rule. The need to systematize a certain aspect of can be represented about the architectonic space was born with the Perspective –Albrecht Dürer, Filippo Brunelleschi– due to the emergence of the bourgeoisie in the Renaissance, continues with Ing. Gaspar Monge in the industrial era, and ends only in the twentieth century as a consequence of the formal concerns of the Modern Movement with the Graphic Language TSD that allows one to account for the ‘pure design operations’ (Jannello 1980: 5–6). TSD, by means of tracings, complex configurations and tree- hierarchical structures, offers a morpho-syntactic explanation –a grammar of the design operation– of the architectonicity of a work or of what traditionally and intuitively has been called the style of an author or of an era. Its specificity consists of allowing a denotative description and explanation of the diagrammatic aspects of a work in a systematic and comparable way. All languages –verbal, graphic, gestural, etcetera– construct a different reality, as do Perspective –the quality of the dwelling space– and Monge –the quantity of matter in space– in regard to the representation of some aspect of space. Thus, TSD was created to address the representation of the qualities of space with regard to pure-form and form-relation. On the other hand, TSD is the first system of graphic representation that has been conceived as a language; consisting of a dictionary of possible figures –the Morphic Paradigm– and a grammar of all combinatorial possibilities of those figures –the Tactic Paradigm.