from com- (“together”) + legō (“I gather”) (

In its long history, design practice has done a marvellous job of inventing the practical skills for drawing objects, from architectural drawing, mechanic blueprints, scale models, prototyping etc. But what has always been missing from those marvellous drawings (designs in the literal sense) are an impression of the controversies and the many contradicting stake holders that are born within with these. In other words, "you" in design as well as "we" in science and technology studies may insist that objects are always assemblies, “gatherings” in Heidegger’s meaning of the word, or things and Dinge, and yet, four hundred years after the invention of perspective drawing, three hundred years after projective geometry, fifty years after the development of CAD computer screens, we are still utterly unable to draw together, to simulate, to materialize, to approximate, to fully model to scale, what a thing in all of its complexity, is. We know how to draw, to simulate, to materialize, to zoom in and out on objects; we know how to make them move in 3-D space, to have them sail through the computerized virtual res extensa, to mark them with a great number of data points, etc. Yet we are perfectly aware that the space in which those objects seem to move so effortlessly is the most utopian (or rather atopic) of spaces. If these are the least realistic spaces of circulation ever imagined. They are spaces that do not even fit with the ways in which architects, engineers, designers draw and modify blueprints, nor with the process through which they direct fabrication on the factory floor or manipulate scale models. To use some more German: we know how to draw Gegenstand but we have no clue what it is to draw Ding.

Bruno Latour in A Cautious Prometheus? A Few Steps
Toward a Philosophy of Design (with Special Attention to Peter Sloterdijk)