The Language of Architecture 26 Principles Every Architect Should Know by Andrea Simitch, Val Warke

24

The inner space of the Bruder teepee formation upon which Fabrication
Klaus Field Chapel by Peter the concrete was layered.
The enclosing wall of Hanil the fabric-lined formwork Zumthor in Wachendorf, Their textured residue bears
Visitors Center & Guest that was used to construct it. Germany (2007), was created witness to the farmers’ use of
House in South Korea, The concrete takes on a by burning away the locally local materials to construct
completed in 2009 by BCHO surprising fragility, as if, like forested spruce trees that this modest chapel.
Architects with Mark West of a curtain, it is about to sway had been arranged in a
CAST, registers the trace of in the wind.

inform the characteristics of the architecture. CRAFT
For example, the dimensions of plywood The act of building can be understood as
panels that compose the formwork of a the result of a process, one that through a
poured-in-place concrete wall are perma- series of steps produces the finished work.
nently inscribed, as measure and as texture, While drawings typically serve as the
onto the surfaces of the wall that they have instruction manual for the construction
formed. The plug holes that served to process and operate as intermediaries
distance the plywood surfaces into which the between the designer and the finished work,
concrete is poured, and that are either left the equipment, tools, and methods that form
open or subsequently plugged, provide yet and assemble the materials are essential to
another clue as to its process of coming into the characteristics of the finished work.
being, adding another scale of measure and The characteristics—physical, cultural, and
texture to its surfaces. Similarly, a wall might economic—of the site in which the work is
be constructed of a series of individual constructed and the methodologies of local
metal components where the potential for building practices can provide a unique
incremental geometric mutation and variation specificity that clearly situates a work within
is inherent to the wall’s fabrication. The a particular context.
computational and fabrication systems
necessary to both conceive of and The walls of the 2011–13 surrounding paddy fields.
manufacture each component are traced Kantana Film and Animation The stepping of each brick
within the wall’s scalelike surfaces as well Institute, designed by transforms the massive wall
as its responsive geometries. Boonserm Premthada of into an undulating curtain
Bangkok Project Studio in full of light and shadow,
Nakorn Prathom Province in punctuated by openings that
Thailand are built of bricks reveal its thickness and mass.
handmade from the

Beginning with an abstracted teristics are individually
doric column, Michael tagged and then assigned
Hansmeyer’s Sixth Order specific behavioral parameters.
installation at the 2011 The result generates an
Gwangju (South Korea) ornamental system of endless
Design Biennale explores a variation and complexity, yet
subdivision process where one that retains a sense of
inherent formal charac- overall order.

DIGITAL FABRICATION SHoP Architects’ Camera system—whether it be the
Digital fabrication generates form directly Obscura, completed in wood cladding or the metal
from computer drawings, enabling increas- Greenport, NY, in 2005, is an panels or the steel connector
ingly complex forms to be constructed. early example of a project plates—necessitated a unique
Designs and details are developed using constructed entirely from fabrication technology,
specific computer software that is compat- digitally fabricated which was then subsequently
ible with various types of fabrication components. Each material assembled on site.
machinery. These drawings are then
transmitted to machines that subsequently
fabricate the forms. This fabrication can
occur at multiple scales and with extremely
precise detail and dimensional tolerances.

Furthermore, while industrialization
introduced an efficiency that depended on
the repetition of both assembly and
fabrication, the development of computa-
tional design and fabrication processes
brings an equal efficiency to the mass
production of differentiated elements, where
standardization is no longer necessary for
either material or economic optimization.

And not all fabrication processes are initiated
within architecture. Techniques of fabrication
often expand the characteristics of an
existing technology that might have initially
been intended or limited to a particular
(and perhaps nonarchitectural) application,
making material and structural discoveries
that were previously untapped. While the
technology remains embedded within the
work, these technological “misuses” can
often produce surprising results that expand
an existing technology’s potential.

24

Fabrication

Jenny Sabin’s myThread weave the pavilion into the
pavilion, exhibited in 2012 at surrounding space. The
the Nike Stadium in New York scale at which the textile
City, deploys textile-based is deployed, along with its
technologies to weave reactive capabilities, intro-
reactive and photolumines- duces new and surprising
cent threads into a gauzelike characteristics to a familiar
fabric. A skeleton of technology—this is no longer
aluminum rings stretches the a sweater.
fabric into spatial tubes that

200 201

THE LANGUAGE OF ARCHITECTURE An architecture of prefabrication is often
conceived as a mobile architecture, one
that can either be moved or reassembled,
or one that touches lightly on the land,
minimally disturbing the context to
which it has been brought.

25 202 203

prefabrication

Prefabrication often begins with a specific set of performance criteria that leads to an
idealized solution.

As a boat is fabricated in a shop and then introduced to
water, a prefabricated architecture is simultaneously
site-less and site-ed. It is constructed away from its site
and subsequently brought to its site, either as an entire
module or as a kit of parts that can be assembled upon
arrival. It is often made of standardized parts or modules

THE LANGUAGE OF ARCHITECTURE Studio Ensamble’s 2007 The beams are brought to the John Entenza, the editor of duplication and in no sense specific site, was constructed
Music Tower for Berklee site and stacked into place, Arts and Architecture, wrote be an individual performer.” of standardized steel and
School of Music in Valencia, producing a dense structural in the 1945 announcement of Pierre Koenig’s 1959–60 glass components that could
Spain, proposes a system of skin that both supports its the magazine’s case study Case Study House #22 is an be recombined and deployed
prestressed concrete beams, interior floors and allows house program, “The house example of a project that, on a very different—and less
of the scale and profile more for cantilevers that create must be capable of while designed for a very extreme—site.
typically associated with enormous voids of suspended
infrastructural projects (such exterior piazzas.
as bridges and overpasses).

that can be repeatedly (mass-) produced or Standardization The scale of “standardized” components can
it can appropriate existing already-made In his foreword to the 2008 MoMA range from a brick, a plywood panel, a 2-inch
components that have not necessarily been exhibition catalog Home Delivery: Fabricating x 4-inch (5 x 10 cm) wood stud or a steel
fabricated explicitly for architecture. A the Modern Dwelling (page 7), museum beam, to a room or even an entire building.
prefabricated architecture is one that is often director Glenn Lowry writes that “mass All depend on repetition, expansion or
conceived as a mobile architecture, one that customization [will] trump mass standard- aggregation to construct something larger
can either be moved or reassembled, or one ization.” And while, certainly, there is a than itself. It is a unit of measure that is
that touches lightly on the land, minimally paradigm shift under way concerning the embedded in the material (or space, or
disturbing the context to which it has been definition of standardization in light of process) that not only facilitates duplication
brought. Technological experimentation and emerging digital technologies, where the but also brings a form of logic to the
ease of assembly are often motivated by a production of identical parts is no longer constructive process.
site’s remoteness or difficulty of access, a a prerequisite for the efficiencies typically
need to quickly expedite shelter in a time of associated with standardization, optimization
crisis, or the ability to incrementally expand (as defined by the speed of production,
over time through accretion of additional minimum waste, and reproducibility) remains
modules or assemblies. one of its most identifiable characteristics.

25

Prefabricated 1.00 m (l) x tects Jose Maria Saez and Prefabrication
0.20 m (h) x 0.28 m (w) David Barragan conceived a
(1.09 yd x 8 in x 11 in) universal system where each
concrete troughs are stacked prefabricated module can
to construct the primary serve alternately as planter,
bearing and space-defining storage unit, or bookshelf,
walls of the 2006 Casa while wooden planks slipped
Pentimento in La Morita, between each course serve
Quito, Ecuador. The archi- as stair, table, or chair.

(B) (E)
(A)

(C )
(D)

The elevator shafts were surrounded by a steel panels, rust-preventative paint, and The Nakagin Capsule Tower tural elements (stairs, 204 205
reinforced concrete spiral staircase, enclosed a weatherproof plastic with an estimated in Tokyo, Japan, designed elevators, utilities, and so
in the lift-formed concrete stair shaft. These twenty-year life span (C). in 1972 by Kisho Kurokawa on), the +/–100 square-feet
stairs were usable throughout the construction consists of 140 individual (30 sq m) steel modules are
process (A). Large trucks transported the capsules 280 living capsules cantilevered fabricated off-site and
miles from the assembly plant to the outskirts from two concrete cores. individually bolted to the
The service risers were, in fact, exterior fins of Tokyo where they were individually loaded While these cores are built concrete core—they were
on the lift shafts, eventually concealed by the onto smaller trucks (D). on-site and contain the designed to be replaced every
attached capsules (B). building’s main infrastruc- twenty-five years.
The capsules were lifted by crane and bolted
The capsules were prefabricated in a shipping to the lift core with four high-tension bolts,
container factory. They are welded, lightweight, and all were attached within thirty days (E).
steel truss boxes clad with galvanized ribbed

THE LANGUAGE OF ARCHITECTURE Sitelessness Albert Frey and A. Lawrence from window frames.
Prefabrication often begins with a specific Kocher’s 1931 Allied and Arts Innovative building materials
set of performance criteria that leads to an Industries exhibition house and construction
idealized solution. While usually developed Aluminaire was entirely technologies were used to
independent of a specific physical site, the manufactured from existing propose an affordable
manner in which a prefabricated project is new materials. Here, form architecture that could be
transported to a site, the way in which the was developed independent produced in a factory setting
work is eventually situated on a site, and how of site, with lights that and subsequently erected on
it might engage a site’s environmental and simulated daylight recessed any site in only ten days.
programmatic factors can have an enormous into ceilings and projected
impact on the initial design parameters. This
expanded context for a prefabricated work
suggest that there be a certain adaptability
built into the work, that it have embedded
within it the potential for local modification
(legs that adjust, panels that operate) or
incorporate adaptive components that allow
for an eventual expansion through the
addition of additional bays or components.
A prefabricated architecture is often entirely
independent of site but, necessarily, deeply
adaptive to it.

Difficult access to this parameters of the design
remote Icelandic site process. Using standardized
necessitated that the 1999 materials of corrugated metal
construction of this (recalling the Icelandic
summerhouse, by Óli houses of the early twentieth
Mathíesen of Glama Kim century) and an interior
Architects, occur off site. lining of plywood panels, it
The dimension of the is through its precise dimen-
transporting truck and the sions that it has the ability to
weight of the overall bring measure and scale to its
structure were critical endless landscape.

Shipping containers are 25
transformed into occupiable
space through Spillman Prefabrication
Echsle Architekten’s 2006
design for Freitag’s Zurich
showroom. Units that were
designed according to a
distinct set of dimensional
and material parameters are
now reused in an entirely new
context, where high fashion
now rubs up against industrial
grit and demonstrates both
the company and architect’s
commitments to sustain-
ability and recycling.

Yona Friedman’s (Untitled)
Bridge proposes a spatial
infrastructure that has the
ability to undergo infinite
incremental change through
the multiplication and
densification of the basic
component units that
populate its megastructure.

206 207

THE LANGUAGE OF ARCHITECTURE Presentation drawings are intended to
stand in for the form and the experience
of an eventual, constructed work.

26 208 209

presentation

A presentation will amplify the most important readings of a work, directed toward a
specific audience.

The presentation drawing or model represents the
conclusion of a particular phase of a design process.
Once the design process is complete, a presentation
drawing or model does not serve as a set of instructions
to construct the work but, instead, as a device that
embodies and communicates the most important ideas,

BIG’s (Bjarke Ingels Group) urban block and topographic
2011 competition presentation landscape into an enormous
drawing for Europa City, a earthwork that collects retail,
new commercial center near cultural, and recreational
Paris, France, realistically and programs—a modern medieval
emphatically presents the city presented from above
underlying concept of the within the context in which it
work: the fusing together of is located.

THE LANGUAGE OF ARCHITECTURE Frank Lloyd Wright’s 1936 looking up from the falls
colored-pencil and pastel reinforces the primary
perspective of Edgar J. understanding of the house
Kaufmann’s house, Falling both as an extension of its
Water in Mill Run, rural landscape and as a
Pennsylvania, gives us a very series of Cartesian planes
real sense of the final work. superimposed and hovering
The use of perspective above it.

the critical characteristics, of the work. And a particular reading of the work that is
while it often documents a work whose most important to be communicated to a
intention is to be materialized, it can also particular audience.
present a body of speculative ideas—in other
words, it can be an end in and of itself. Documentary
Presentation drawings and models can be
Hugh Ferris’s delineations that emphasized the Audience documentary and serve to explain, to
advertised the buildings to building’s mass, light, and A presentation takes into consideration its demonstrate, the project. They are intended
the consumers for whom they shadow with very little audience or the context within which the to stand in for the form and the experience
were intended. This 1929 attention to detail, the presentation will be read and understood. of an eventual, constructed work. For
moody nighttime image of drawing intentionally An architectural competition jury is distinct example, a perspective might demonstrate
the Chanin Building in New presents a building full of from a fund-raiser, which is distinct from a to a client the experience of what it’s like to
York City designed by Sloan mystery, waiting to be client presentation, which is distinct from occupy the building or what will be seen
& Robertson was a real estate inhabited—the luminous star a museum exhibition. Each forum has unique through the architectural lens of the
marketing tool. A silhouette emerging from the city below. criteria through which the work will be building’s skin. Or a site model might show
considered, criteria through which the the building’s mass and scale in the context
architectural concept must be framed. of its surrounding context—how tall or how
The presentation will inevitably amplify bulky it is in relation to its neighbors.

(continued on page 213)

The Projections of Zaha Hadid

In a strict reading of the terms, presenta- Zaha Hadid: The Peak Leisure Club, Hong Kong, 1982–83
tion conveys ideas that may have not yet
been materialized but that are conceptually
determined. In contrast, representations
denote the “presenting again” of an idea
that may already exist in another medium
such as photography or life drawing, or the
progression of an idea that is in the process
of coming into being.

Architectural drawings, images, and models
are presentations of constructions prior to
their being built. Photorealistic renderings
seek to collapse presentation into reality,
masking the unsettling gap between. Alter-
natively, architects can exploit the power of
architectural presentations by heightening
the distinctions between realism and pre-
sentation, destabilizing expectations and
understandings of the world to come. Within
the discourse, most architectural presenta-
tions privilege not the construction yet to
come but the conceptual framework and
ideas that have informed the design process.
Their role is often to seduce the audience
into a specific understanding of the work.

Zaha Hadid’s work explores the immense
power of architectural images to be both
presentations of a new world to come as well
as the visual documentation of the theoreti-
cal structure of images understood as
representations of ideas. Hadid built her
reputation as an architect by dispensing
with the obligation to present architecture
according to rules of construction, choosing
instead to construct striking and unex-
pected presentations of her projects as she
would have us see them. In her drawings for
the Peak, a 1981 competition for a social
club high above Hong Kong, Zaha Hadid
demonstrated a project that lacked any
overt concern for tectonics, gravity, struc-
ture, enclosure, or façade, organized instead
by the underlying rules of the presentation

Zaha Hadid: Cardiff Bay Opera House, Wales, UK 1994–96

Zaha Hadid: Hoenheim-Nord Terminus and Car Park,
Strasbourg, France, 1998–2001

technique deployed—perspectival drawing opened up an unsettling gap, exemplified entire parking surface is rendered as a
and oblique projection. The Peak and Hong early in her career by the controversy over large canvas, presenting the systems of the
Kong were cast in representational capitula- the Cardiff Bay Opera House: Her winning transportation hub to the user. In Zaha
tion with the logic of her design, as if the presentation was never built, doomed by Hadid’s recent work, the development of
city would be entirely remade through the misperceptions regarding the capacity of digital technologies has enabled the visu-
lens of the competition presentation. the drawings and images to be realized. alization and subsequent construction of
complex spatial conditions. Yet, as presen-
Zaha Hadid’s presentation drawings and These early paintings and drawings prefig- tation succumbs to the seduction of
models become complicit in the exploration ured her future built works. While the Vitra photorealism, it paradoxically erases the
of their architectural ideas. Her work is not Fire Station and IBA Housing demonstrate tension once held in her earlier presenta-
simply illustrated through perspective, but the constructive ambitions of her early tions: that of a didactic tool for imagining
it is spatially transformed by perspectival perspectival drawings, the Hoenheim-Nord what we are about to experience.
presentation, conflating the design with its Terminus and Car Park convincingly merge
presentation. By pursuing the explorative presentation with the final project. Oblique —David J. Lewis (LTL Architects; Parsons,
potential of presentation over the tectonics angles of the building solidify in concrete the New School for Design)
of building, Zaha Hadid’s work has often the explorations of drawings, while the

Evocative Media 26
A presentation can be more conceptual and The media of presentation serves to reinforce
suggest an intention of a potential work, an the architectural concept. While collaged Presentation
evocative image that envisions a future world material will often carry with it the meanings
or what architecture could possibly be. In the and textures embedded in the fragments that
hands of architects like Giovanni Battista are appropriated into the collage, it is the
Piranesi or Lebbeus Woods, these drawings process of overlaying multiple “voices” in the
and models can take the form of an architec- presentation (styles, materials, and scales)
tural manifesto—a speculative position that that can reinforce an architectural dialogue
encourages debate and often critiques the fundamental to the concept being presented.
contemporary views on architecture and the Video animations or “walk-throughs” place the
city, imagining a world free of the material, audience within the work but can also present
structural, and political conventions with a temporal experience that was critical to the
which architecture is bound. Their strength development of the architectural idea. While
often lies in their ambiguity and their ability computer-generated images can introduce an
to suggest rather than explain. uncanny reality, they can demonstrate with
great precision and detail the responsive and
Alexander Brodsky and Ilya brink of the abyss. Here, often environmentally interactive dimension
Utkin’s 1987 competition- the drawing operates as that informs the final forms and geometries.
entry drawing, entitled simultaneous metaphor and
Bridge over a Precipice in the critique of a relentlessly
High Mountains, constructs a banal state of contemporary
magical glass chapel architectural production
impossibly teetering on the and thought in Russia.

Archigram argued for the contemporary society. The technologies that might Superstudio’s 1969 photo- reinforces a visionary 212 213
cultural aspect of building by collages that they produced invigorate a banal suburban montage “The Continuous scenario of a distinct
placing it within the context to envision this new world landscape. The convincingly Monument: An Architectural world defined by its
of what was occurring in the were populated with people invented “existing” suburb is Model for Total Urbanization” monumental scale and
sixties and seventies. They imported from contemporary populated with background begins with a photograph on abstracted vocabulary,
were producing structures and popular magazines. Ron drawings of amusement park which a drawing is subse- one that proposes a future
that would often require Herron’s Tuned Suburb structures and foregrounded quently overlaid. The shift order superimposed over a
technologies that did not yet collage, produced for the 1968 with collaged figures of in both technique and scale messy and obsolete past.
exist, arguing them within Milan Biennale, proposed a everyday life.
the framework of “Popular Pak” of imported

THE LANGUAGE OF ARCHITECTURE The Telamon Cupboard of precise pencil drawings
Ben Nicholson’s 1986–1990 demonstrate the cabinet’s
Appliance House exaggerates structure, hinges, knobs,
the prosaic repository for mechanisms, and operations,
everyday detritus into an while the collages suggest
(only partially) accessible the materialistic density for
domestic instrument. The which they are intended.

Buildings and cities are alternative view, a city of urban form and instead motion diagrams, together,
intrinsically static, bound by relationships between spaces borrow freely from filmic construct urban storyboards
material and by gravity. Yet and their use, between form conventions such as the jump that fuse the physical with
the drawings of Bernard and program. The drawings cut, the montage, and the the ephemeral, the
Tschumi’s 1976–81 Manhattan leave behind more singular splice. Here, photographs, permanent with the fleeting.
Transcript project present an representations of space and architectural drawings, and

26

Presentation

C. J. Lim’s collage drawings underground transportation
construct visual narratives— system into a floating
dreamlike landscapes that infrastructural network—
intertwine the real and the a “sky-river” for both
fictional through hybridized commuters and recreational
drawings and models. In his enthusiasts alike. Ink
proposal for a Sky Transport drawings serve as context for
for London, he pays homage pop-up paper models that
to the cartoonist Heath reinforce the dialogue between
Robinson’s “crazy contrap- the real and the imagined,
tions.” Here, he lifts and the familiar and the strange.
transforms London’s Battersea, London, UK, 2007

214 215

Andrew Kudless’s drawings surface of 1,000 digital cells
for his 2012 Chrysalis III is suspended from an
structure required the use of underlying body, with each
particular computer software cell competing for spatial real
to generate a complex estate as they compress and
barnaclelike surface of unique expand three dimensionally
shapes. The undulating into their final state.

Glossary

THE LANGUAGE OF ARCHITECTURE abstraction a translation that condenses a elevation an architectural drawing that poché the less consequential aspects of a
complex form or concept to a fundamental provides the measured documentation of building or city that usually serve as back-
figure or principle one side or flank of a structure, with no ground or supportive material for the more
perspective distortion significant aspects of the building or city
anamorphic distorted when viewed from
most positions, but normalized when seen enfilade a series of spaces connected along precedent something that has come before
from a specific point of view an axis or line, generally through a range of and that is evoked in the production of
doorways something new
axis an imaginary line that connects a range
or sequence of spaces or objects. façade a building's face, it is a structure's rusticated a surface (often at the base of a
most public visage; buildings can have more building) composed of large masonry blocks
axonometric a constructed drawing on the than one façade, especially if they front on with a rugged texture and rough joinery; or
oblique in which a plan view is kept multiple venues. alluding to such a surface
undistorted, and vertical surfaces are
projected upward or downward. familiarization a process whereby section an architectural drawing that reveals
something that is unknown is represented in what can be understood when an imaginary
brise soleil a “sun-breaker,” is a device— terms of one or more things that are known vertical slice is taken through a building,
usually appended to a structure—intended garden, or city, usually suggesting the
to control the penetration of sunlight. loggia an open, exterior gallery, usually at vertical relationship of spaces
ground level, through which people might
chiaroscuro the relationship between light circulate scale a relationship of size between one
and dark, generally established through entity and another; in architecture, human
contrast membrane a thin structure or layer that scale refers to the relationship between a
separates two conditions of differing spatial body's dimensions and range of motions and
context the situations—formal, temporal, characteristics, functions, temperatures, and the architecture designed to specifically
climatic, and so on—in which a building finds humidity accommodate these dimensions
itself, and that will inevitably affect its
perception mimetic exhibiting a characteristic that site the physical location in which a building
resembles in some manner the characteristic is to be located, possibly including those
cornice a horizontal projection, often of another entity nearby features that shape its views,
emphasizing the top of a building, the upper approach, and configuration
boundary of a segment of a façade, or the perspective a simulated three-dimensional
ceiling of a room view, generally constructed from a specific space a definable volume of emptiness that
vantage point along a horizon, with one or can be occupied, or that otherwise estab-
defamiliarization the process of construing more vanishing points toward which surfaces lishes the range across which an observer
something that is normally very familiar to be appear to converge perceives enclosure
something unfamiliar in order to promote
new observations or fresh understandings pilaster a rectilinear suggestion of a column, trope an aspect of language in which
usually emerging from the surface of a wall; something is used to stand in for something
dialogical participating in a discursive occasionally used to refer to a half column, else with which it has some association
exchange, whereby meaning is expanded, which is semicircular in plan as it engages a wall
exchanged, and renewed through the void an indefinite emptiness
engagement of one or more other voices or plan an architectural drawing that represents
artifacts; the opposite of monological, in the parts of a building, a complex of
which only a single voice can be perceived buildings, or a city, looking downward from a
horizontal slice generally taken at eye level
eclecticism the deliberate combination or (in building plans) or from an indefinite
merging of various styles, expressions, or position above a city or complex
doctrines

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Princeton Architectural Press, 1999. [13] Todorov, Tzvetan. Mikhail Bakhtin: The
Rasmussen, Steen Eiler. Experiencing Dialogical Principle. Minneapolis: University
Kahn, Louis I. Louis Kahn: Essential Texts. Ed. Architecture. Cambridge, MA: MIT of Minnesota, 1984. [15, 17]
Robert C. Twombly. New York: W.W. Norton, Press, 1962.
2003. [21] Zevi, Bruno. Architecture as Space: How to
Look at Architecture. Trans. Milton Gendel.
New York: Horizon, 1974. [11]

Contributor Directory

THE LANGUAGE OF ARCHITECTURE 3Gatti Code: Architecture Herzog & de Meuron Basel Ltd. MVRDV
3gatti.com code.no 129 (top & middle, left) herzogdemeuron.com mvrdv.nl
131 (bottom, left & right) Cornell University, Department of 31 (top, right) 177 (middle, left & right & bottom)
David Adjaye Associates Architecture Steven Holl Architects Nacasa & Partners Inc.
adjaye.com aap.cornell.edu/academics/architec- stevenholl.com nacasa.co.jp
97 (top, left & right) ture, 15–17 20; 35 (middle) 23 (middle & bottom)
Alejandro Aravena Arcuitecto Decker Yeadon LLC Höweler + Yoon Architecture Netherlands Architecture Institute
alejandroaravena.com deckeryeadon.com hyarchitecture.com nai.nl, 167
70 (middle, right); 163 96 (top, right, middle & bottom) 123 (middle) Ben Nicholson, 214 (top)
Allied Works Architecture Diller Scofidio + Renfro Iñaqui Carnicero Architecture Paulo David Arquitecto Lda
alliedworks.com dsrny.com, 31 (bottom); 159 Office 171 (bottom, left)
25 (bottom, left & right) dosmasunoarquitectos inaquicarnicero.com Pezo von Ellrichshausen/
Amateur Architecture Studio dosmasunoarquitectos.com 152 (bottom, left) Mauricio Pezo & Sofia von
chinese-architects.com/amateur 166 (bottom, right) IwamotoScott Architecture pezo.cl, 70 (middle, left)
66 (top) Eisenman Architects iwamotoscott.com Eugenius Pradipto
Anathenaeum of Philadelphia eisenmanarchitects.com 194 (right) designboom.com
philaathenaeum.org, 184 (top) 53 (middle); 187 (bottom) Jakob & MacFarlane Architects 97 (bottom)
Archigram Ensamble Studio jakobmacfarlane.com Preston Scott Cohen, Inc.
archigram.net, 213 (bottom, left) ensamble.info 87 (top, right) pscohen.com, 35 (bottom)
Architekturbüro Ernst Giselbrecht 74 (top, left); 99 (middle & bottom); Jarmund/Vigsnæs AS Arkitekter Richard Nickel Archive, Ryerson and
giselbrecht.at 198 (middle, bottom, left & right); MNAL Burnham Archives, The Art Institute
152 (top & middle, left & right & 204 (top, left) jva.no of Chicago
bottom, right) EPIPHYTE Lab 23 (top, right) artic.edu, 171 (top)
Archivo Histórico José Vial epiphyte-lab.com, 62 (top) José María Sánchez Architects Ronald Feldman Fine Arts, Inc.
Armstrong The Estate of R. Buckminster Fuller jmsg.es feldmangallery.com
Escuela de Arquitectura y Diseño, buckminsterfuller.net, 191 (left) 169 (bottom) 213 (top)
Pontificia Universidad Católica de Fondation Le Corbusier Kennedy & Violich Architecture Royal Institute of British Architects
Valparaíso fondationlecorbusier.fr kvarch.net Library Books & Periodicals Collection
ead.pucv.cl, 198 (top) 126; 147 (bottom); 187 (top) 96 (top & bottom, left) architecture.com
Diego Arraigada Arquitectos Fondazione Aldo Rossi Labics 113 (bottom); 192 (bottom)
diegoarraigada.com fondazionealdorossi.org labics.it, 130 (bottom) Jenny Sabin
53 (bottom, right) 10; 35 (top, left); 110 Louis I. Kahn Collection, The jennysabin.com, 61 (top, left); 201
ARX Portugal Arquitectos Fondazione Il Girasole University of Pennsylvania and Shigeru Ban Architects
arx.pt, 24 61 (bottom) the Pennsylvania Historical and shigerubanarchitects.com, 75; 76
Atelier Bow Wow Foreign Office Architects Museum Commission SHoP Architects
bow-wow.jp, 57 (top) 61 (top, right) design.upenn.edu, 175 (bottom); 176 shoparc.com
Barkow Leibinger The Frank Lloyd Wright Foundation LTL Architects 163 (top & middle); 200 (bottom)
barkowleibinger.com, 85–86 Archives, Avery Architectural & ltlarchitects.com Simón Véles/DeBoer Architects
Beinecke Rare Book & Fine Arts Library, 35 (top, right) deboerarchitects.com, 97 (middle)
Manuscript Library, Yale University Columbia University Machado and Silvetti Associates Spaceshift Studio
beinecke.library.yale.edu franklloydwright.org/about/Archives machado-silvetti.com, 13 (top) spaceshiftstudio.com, 199 (bottom)
129 (bottom) 210 (middle) Massimiliano Fuksas Architetto Studio 8 Architects
Bibliothèque nationale de France Carlo Fumarola Architekt ETH fuksas.it, 71 (top, right) studio8architects.com, 215 (top)
bnf.fr, 141 (bottom) crola.ch, 92 (top) Matsys Studio Granda
Bjarke Ingels Group Fundación Anala y Armando matsysdesign.com, 215 (bottom) studiogranda.is, 54 (top, right); 159
big.dk Planchart Richard Meier & Partners Trahan Architects
154 (top, left & right); 210 (top) fundacionplanchart.com Architects LLP trahanarchitects.com, 195
Mario Botta Architetto 34 (bottom, left) richardmeier.com, 14; 127 (top) Bernard Tschumi Architects
botta.ch Gigon/Guyer Architekten Metro Arquitetos Associados tschumi.com
128 (middle, top & middle, bottom) gigon-guyer.ch metroo.com.br, 68 155 (top, left); 169 (top, left & right);
Alexander Brodsky, 42; 213 (top) 129 (top, right, middle & middle, Morger Degelo Kerez Architekten 214 (bottom)
Canadian Centre for Architecture right) 94 (top, right) UNStudio
cca.qc.ca, 162 (bottom) Grafton Architects Morphosis Architects unstudio.com
Centraal Museum, Utrecht graftonarchitects.ie morphosis.com, 29; 30 32 (top); 55 (top, right); 193
111 (bottom, left) 70 (top, right) Musées de Strasbourg Zaha Hadid Architects
Chicago History Museum Guerilla Office Architects musees.strasbourg.eu, 122 (middle) zaha-hadid.com
chicagohistory.org 183 (top) g-o-a.be, 166 (top) The Museum of Modern Art 25 (top, left & right, middle);
CODA Michael Hansmeyer moma.org 130 (top, left); 211; 212
co-da.eu 63 (bottom, left) michael-hansmeyer.com 31 (top, left); 63; 122 (bottom);
200 (top) 168; 213 (bottom, right)

Photographer Credits

Photographs courtesy of the authors with the excep- ©Courtesy of Ensamble Studio/ensamble.info, Taleen Josefsson, 185 (top), Deuk Soo Jung, 47, 218 219
tion of the following: 99 (middle & bottom); 198 (middle, bottom, left Tad Juscyzk, 115 (top, left), Drawing: Mia Kang,
Courtesy of 3Gatti, 131 (bottom, left & right), & right); 204 (top, left), Courtesy of EPIPHYTE 153 (top, right), Aya Karpinsk, 103 (bottom, left),
Travis J. Aberle, 120 (middle, right), Courtesy Lab, 62 (top), Jonathan Esslinger, 163 (bottom, Emil Kaufmann, “Three Revolutionary Architects”
of Allied Works Architecture, 25 (bottom, left left), The Estate of R. Buckminster Fuller, 191 in Transactions of the American Philosophical
& right), Luís Ferreira Alves, 170 (top), ©Pirak (left), Marloes Faber, 10 (top, right), Courtesy of Society, Vol. 42, Part 3, p. 545, 1952, 141 (bottom),
Anurakyawachon/Spaceshift Studio, 199 (bottom), Per Olaf Fjeld, reproduced from Sverre Fehn: The Ros Kavanagh, 70 (top, right), Joseph Kennedy,
Archivo Histórico José Vial Armstrong Escuela de Pattern of Thoughts, 22 (top, left & middle), Fon- 135 (bottom), ©Kennedy & Violich Architecture/
Arquitectura y Diseño, PUCV, 198 (top), Gianluca dation Le Corbusier, 126; 147 (bottom); 187 (top), kvarch.net, 96 (top & bottom, left), Yongkwan Kim,
Aresta, ITS LAB—I Think Sustainable Laboratory, Fondazione Il Girasole/Angelo e Lina Invernizzi, 199 (top, left), Florestan Korp, 160 (middle & bot-
71 (middle, left), ©Pétur H. Ármannsson, 110 61 (bottom), Foreign Office Architects, 61 (top, tom, left & right), Andrew Kovacs, 39, ©Yoshinori
(middle); 161 (top), Anna Armstrong, 119 (middle, right), ©David Franck, 32 (bottom), The Frank Kuwahara, 148 (top), Natalie Kwee, 33 (bottom),
left), ©Arnauld Duboys Fresney Photographe, 160 Lloyd Wright Foundation Archives (The Museum Labics, 130 (bottom), Ryan Lancaster, 115 (top,
(top, left), ARX Portugal Arquitectos, 24, Atelier of Modern Art/Avery Architectural & Fine Arts right), ©Andreas Lechtape, 121 (right), James
Bow Wow, 57 (top), Peter Bardell, 123 (top, left), Library, Columbia University, New York), 210 Leftwich, 111 (top), Paul Lewis, Marc Tsurumaki,
Barkow Leibinger, 85, David Barragan, 205 (top (middle), Frederick C. Robie Residence, Chicago, David Lewis, Alex Terzick, 35 (top, right), Licensed
left, middle & right), Joaquim Barros, 146 (top, IL, 1906-1909, Frank Lloyd Wright, architect. by SCALA/Art Resource, NY, 28 (left), ©C. J.
right), Bednorz-Images, 182 (top, right), Courtesy Richard Nickel Archive, Ryerson and Burnham Lim/Studio 8 Architects, 215 (top), Tiffany Lin, 66
of Benjamin Benschneider, 18 (right), Bernard Archives, The Art Institute of Chicago. Digital (bottom, left & right), Arwen O'Reilly Griffith, 43,
Tschumi Architects, 155 (top, left); 169 (top, left & File #201006_120118-014 © The Art Institute of ©Jeff Lodin, 41, Lotus International 22, 1978, 142
right); 214 (bottom), Jordan Berta, 174 (top, left), Chicago, 171 (top), Yona Friedman, 207 (bottom), (top), Louis I. Kahn Collection, The University of
©Hélène Binet, 212 (top, right), Courtesy of Bjarke Andrew Fu, Cornell University, B.Arch, 2014, 94 Pennsylvania and the Pennsylvania Historical and
Ingels Group (B.I.G.)/big.dk, 154 (top, left & right); (middle & bottom); 128 (bottom), Carlo Fumarola/ Museum Commission, 175 (bottom); 176, Lan-
210 (top), Cameron Blaylock/cameronblaylock- crola.ch, 92 (top), Fundación Anala y Armando franco Luciani, 71 (top, left), Mark Lyon, 114 (bot-
photo.com, 115 (bottom), Ignacio Borrego, Néstor Planchart, 34 (bottom, left), Aurelio Galfetti & tom), Machado and Silvetti Associates, 13 (top),
Montenegro, Lina Toro/dosmasuno arquitectos/ Flora Ruchat/Drawing: Anh K Tran, 170 (bottom), Massimiliano and Doriana Fuksas, Architects/
Photo: Miguel de Guzmán, 166 (bottom, right), Genesis by David Adjaye for Design Miami, 2011, Photo: Moreno Maggi, 71 (top, right), Árni Sv.
Courtesy of Mario Botta, Architetto/Photo: 97 (top, left & right), ©Gigon-Guyer Gigon/Guy- Mathiesen, 206 (left & right), ©2012 Matsys, 215
Alo Zanetta, 128 (middle, top), Mario Botta, er Architekten/Photo: ©Henrik Helfenstein, 129 (bottom), Mitsuo Matuoka, 121 (middle), Creative
Architetto, 128 (middle, bottom), From Robin (top, right, middle & middle, right), ©Giselbrecht, Commons, 142 (middle), ©Stephen McCathie 75
Boyd, Kenzo Tange, New York: Braziller, 1962, 152 (top & middle, left & right & bottom, right), (bottom), Ken McCown, 120 (top), Stefano Ab-
182 (bottom), Alexander Brodsky, 42, Burçin Paola Giunti, 143 (top, right), Eileen Gray Archive/ badessa Mercanti, 71 (bottom), José María Lavena
YILDIRIM, 22 (top, right), Burnham Pavilion in Photo: Eileen Gray, 153 (left, top & bottom), Juan Merino, 74 (top, right), Metro Arquitetos Associa-
Chicago’s Millennium Park, 2009, ©UNStudio, David Grisales, 162 (top), Guerilla Office Archi- dos, 68, Enric Miralles and Carme Pinós, 28 (right),
193 (bottom), Burnham Pavilion in Chicago’s tects, 166 (top), Wojtek Gurak/bywojtek.net, 99 Leonard Mirin, 161 (bottom), Mobius House,
Millennium Park, 2009, UNStudio/©Christian (top); 130 (top, right), ©R. Halbe, 85 (middle), © 1995, UNStudio/© Christian Richters, 55 (bottom,
Richters,193 (top), Chalmers Butterfield, 140 (top, 2013 Duyi Han, 69 (middle, left), William Harbison, right), Rafael Moneo, 134 (bottom, left), Photo by
left), Barnabas Calder, 175 (top), Canadian Centre 204 (bottom, left), ©Ron Herron of Archigram/ Michael Moran, 113 (top), Morger Degelo Kerez
for Architecture, 162 (bottom), Iñaqui Carnicero/I. Ron Herron Archive, 213 (bottom, left), Herman Architekten, 94 (top, right), Courtesy of Morpho-
Vila A. Viseda, 152 (bottom, left), ©Lluís Casals, Hertzberger, 13 (bottom), ©Herzog & de Meuron, sis Architects, 29; 30, ©Musées de Strasbourg/M.
54 (top, left), Celtus, Creative Commons, 186 (top, 31 (top, right), Detail of drawing by Thomas Bertola, 122 (middle), ©The Museum of Modern
right), Centraal Museum, Utrecht, 11 (bottom, Holme, Library of Congress, 184 (top), Courtesy Art/ Licensed by SCALA/Art Resource, NY,
left), Evan Chakroff, 66 (top), Shu Chang, 136 of Höweler + Yoon Architecture, 123 (middle), 31 (top, left); 122 (bottom); 168; 213 (bottom,
(left), Hong Ji Chen, 199 (top, right), Kimberley Arthur Huang, Jarvis Liu/Miniwiz, Ltd., 63 (top), right), Courtesy of MVRDV, 177 (middle, right &
Chew, 17, Chicago History Museum, 183 (top), Li Kwan Ho Felita, 174 (bottom), Hugh Ferriss Ar- bottom), Courtesy of MVRDV/Photo: © Rob›t
Justin Chu, 15 (middle), Justin Clements, 69 (top, chitectural Drawings and Papers Collection, Avery Hart, 177 (middle, left), Nacasa & Partners Inc., 23
left), Courtesy of CODA, 63 (bottom, left), Code: Drawings and Archives, Columbia University, 212 (middle & bottom), Leo T. Naegele, 148 (bottom),
Arkitektur AS, 128 (middle, left), Wayne Copper, (bottom), FG+SG Architectural Photography, 53 Jonathan Dietrich Negron, 105 (top), Netherlands
Cornell University, 50 (top, left), Cornell Univer- (top), Figure from Architectural Space in Ancient Architecture Institute, 167, Ben Nicholson, 214
sity, Department of Architecture, 15 (bottom); Greece by Constantinos A. Doxiadis, published (top), Courtesy of Nike, 201 (bottom), ©Allen
16, ©Conor Cotter, 75 (top), Nils Petter Dale, 23 by MIT Press, 102 (top), Leonard Finotti, 92 (bot- Nolan, 46, ©Nicole Nuñez, 86 (bottom), Victor
(top, left), ©DeBoer Architects/Simón Vélez, 97 tom), Thomas Flagg, 107 (top), flickr.com/photos/ Oddó, 70 (middle, right), Ken Ohyama, 158 (left),
(middle), Courtesy of Dia Art Foundation/Photo: marinanina/2068310964, 111 (bottom, right), Ziver Olmez, 154 (middle), Courtesy of Orfeus
John Cliett, 149 (bottom), ©Didier Boy de la Tour, Courtesy of Kenneth Frampton, 69 (bottom), Publishing, reproduced from Sverre Fehn: Samlede
76 (top, right), ©Diego Arraigada Architects and Flagellation of Christ, by Piero della Francesca, Arbeider, 21 (right); 23 (bottom), John Ostlund,
Johnston Marklee, 53 (bottom, right), Digital scan collection Galleria Nazionale delle Marche, Urbino, 183 (bottom), Larisa Ovalles, 118 (top, left), Mia
from printed map (no copyright information, recto Italy, (public domain), 105 (bottom), ©Gustavo Ovicina, 15 (top), Cristobal Palma, 70 (top, left),
or verso); printed in Denmark by Permild & Rosen- Frittegotto, 53 (middle, bottom), Photo: Masako ©Paulo David Arquitecto Lda, 171 (bottom, left),
gren c. 1957, in collection of Beinecke Rare Book Fujinami, 154 (bottom), Carol M. Highsmith, This James Pelletier, 194 (left), Pier Luigi Nervi Project
& Manuscript Library, Yale University, New Haven, is America! Library of Congress Collection, 77 Association, Brussels, 77 (top), From Giovanni
CT., 129 (bottom), Courtesy of Diller Scofidio + (bottom), ©Eduard Hueber/archphoto.com, 95 Battista Piranesi, Le Carceri d’Invenzione, Rome,
Renfro, 31 (bottom), Drawings: Mikhail Grinwald, (middle & bottom), In the public domain, 84 (top, 1761, (public domain), 120 (middle, left), Karel Polt,
34 (top); 94 (top, left), Drawing from Arabian right); 102 (bottom); 185 (bottom, right); 186 (bot- 142 (bottom), Eduardo Ponce, 66 (middle, right),
Antiquities of Spain, by James Cavanagh Murphy, tom); 190 (bottom), Donald Ingber, 191 (right), Neil Poole, 190 (top, left), ©Eugenius Pradipto,
1816; reproduction by Kroch Library, Cornell Uni- IwamotoScott Architecture, 194 (right), Joëlle Lisa 97 (bottom), ©Matthias Preisser/matthiaspreisser.
versity, 182 (top, left), Drawings: Anh K. Tran, 69 Jahn, 131 (top), Jakob & MacFarlane Architects/R. ch, 94 (top, middle), Preston Scott Cohen, Inc.,
(middle, right); 81 (bottom); 104 (right); 177 (top); Borel Photography, 87 (top, right), Tadeuz Jalocha, 35 (bottom), Printing kept at the public library
178 (right); 179 (top & middle); 184 (bottom); 163 (bottom, left), Aris Jansons, 143 (bottom), of Varese. This reproduction was realized by the
186 (top, middle), Ludovic Dusuzeau/Elementa, Jarmund/Vigsnæs AS Arkitekter MNAL, 23 (top, Municipal Administration on the occasion of the
Tadeuz Jalocha, 163 (bottom, right), Courtesy of right), Xavier de Jauréguiberry, 123 (bottom), ceremony for the Unesco’s certificate registration
Eisenman Architects, City of Culture of Galicia, Mitchell Joachim, Maria Aiolova, Melanie Fessel, of the site., 55 (top, left), Private Collection, 10
study model, 1999, 53 (middle), Courtesy of Eisen- Emily Johnson, Ian Slover, Phil, Weller, Zachary (top left), psmodcom.org, 206 (top, right), Wajeha
man Architects, 187 (bottom), Courtesy of Pezo Aders, Webb Allen, Niloufar Karimzadegan, 63 Qureshi, 115 (top, middle), Mahuqur Rahman/
von Ellrichshausen, 70 (middle, left) (bottom, right), José María Sánchez Architects, Arlington, Virginia, 134 (top)
169 (bottom)

THE LANGUAGE OF ARCHITECTURE Reproduced from Bernard Rudofsky’s Architecture fabbriche e i disegni di Andrea Palladio, Vicenza, Andrew Heumann, 33 (top, right), Team Leader:
without Architects, Wulf-Diether Graf zu Castell 1796; Kroch Library, Cornell University, (public Dana Cupkova/Design Team: Monica Alexandra
Munich/Reim, 56 (bottom), Reproduced from domain), 106 (right), From Karl Friedrich Schinkel, Freundt, Andrew Heumann, Daniel Quesada
Klaus Herdeg’s Formal Structure in Indian Architec- Sammlung architektonischer Entwürfe: enthaltend Lombo, Damon Wake, Consultant: William Jewell,
ture, (1967), 54 (bottom), Reproduced from Philib- 148 Kupfer-Tafeln mit erlauternden Text, Potsdam, Ph.D., 33 (top, left), ©Teatro Regio Torino/Photo
ert de l’Orme, Architecture de Philibert de l’Orme 1841–1843; Kroch Library, Cornell University, Ramella & Giannese, 143 (top, left), Mari Tefre/
...: Oeuvre entiere contenant onze liures, augmentée (public domain), 107 (bottom), Chris Schroeer- Global Crop Diversity Trust, 57 (bottom), Skylar
de deux …, Kroch Library, Cornell University, Heiermann, 199 (top, middle), Michael Schroeter, Tibbits, 153 (bottom), Janice Tostevin/jhtostevin@
(public domain), 192 (top, left & right), Reproduced 190 (top, middle), Scott Schultz, 66 (middle, ntlworld.com, 140 (bottom), Trahan Architects,
from Thomas L. Schumacher’s Surface and Symbol: left), ©Kyle Schumann, 50 (bottom), Michael 195, Anh K. Tran, 140 (top, right), Turismo FVG
Giuseppe Terragni and the Architecture of Italian Schwarting, 206 (top, left), Davide Secci, 149 ph Fabrice Gallina, 190 (top, right), Courtesy of
Rationalism, drawing #31, 34 (bottom, right), (top), Seier + Seier, 178 (left), Courtesy of Shigeru UNStudio, 32 (top); 55 (top, right), Omar Uran,
Reproduced from Spazio, Vol. 3, No. 6, December Ban Architects, 76 (left), Courtesy of Shigeru Ban, 159 (middle), Mauricio Vieto, 74 (bottom); 78;
1951–April 1952, 12, Reproduced from Spazio, Vol. Architects/Photo: ©Hiroyuki Hirai, (76 (bottom, 81 (top); 106 (left); 122 (top), From Visionary
7, December 1952–April 1953, 11; 104 (right), Cour- right), SHoP Architects, PC, 163 (top & middle); architects: Boullée, Ledoux, Lequeu, Catalogue of
tesy of Richard Meier & Partners Architects LLP, 200 (bottom), Sigurgeir Sigurjónsson, 159 (bot- an exhibition held at the University of St. Thomas,
14; 127 (top), ©Siobhan Rockcastle, 62 (bottom); tom, left), ©Petr Šmídek, 56 (top), ©Margherita 1968, (public domain), 141 (top, left), ©Rajesh
79, Courtesy of Ronald Feldman Fine Arts, New Spiluttini, 91; 95 (top), Courtesy of Steven Holl Vora, 60 (top), Jarle Wæhler, 129 (top, left),
York/feldmangallery.com, 213 (top), Richard Rosa, Architects, 20; 35 (middle), Still Life, c.1952 (oil on ©Michael Webb, 112 (top), Kathy Wesselman, 119
40, ©Corinne Rose, 86 (top, left & right), Aoife canvas), Morandi, Giorgio (1890–1964)/Private (top, left & right), Julian Weyer, 71 (middle, right),
Rosenmeyer, 112 (bottom), ©Eredi Aldo Rossi, 35 Collection/The Bridgeman Art Library, 119 (bot- Wikipedia, 38 (left); 69 (top, right); 192 (middle),
(top, left), Aurélien Le Rou, 141 (top, right), Royal tom), Francis Strauven, 45, Studio Granda, 54 (top, Allison Wills, 146 (left), Duncan Wilson, 128 (top),
Institute of British Architects Library Books & right), Subdivided Columns, Michael Hansmeyer, ©Decker Yeadon LLC/deckeryeadon.com, 96
Periodicals Collection, 113 (bottom); 192 (bottom), 2010, 200 (top), Mathew Sweets, 204 (bottom, (top, right, middle & bottom), ©2010 Sophie Ying
Andy Ryan, 120 (bottom), Jenny Sabin, 61 (top, right), Ida Tam, 159 (top); 182 (middle), Roland Su/sophienesss.com, 119 (middle, right); 204 (top,
left); 201 (top), Mikaela Samuelsson, 155 (top, Tännler, 207 (top), Photo: Taxiarchos228, 174 (top, right), Zaha Hadid Architects, 25 (top, left & right,
right), Saramago, Pedro/Mãe D’Água, Lisboa, Por- right), Team Leader: Dana Cupkova, Design Team: middle); 130 (top, left); 211; 212, Lisa Zhu, 147
tugal, 2012, 146 (bottom, right), Nathaniel Saslaf- Monica Alexandra Freundt, Andrew Heumann, (top), Giorgio Zucchiatti, 110 (bottom)
sky, 121 (left), From Ottavio Bertotti Scamozzi, Le Daniel Quesada Lombo, Damon Wake/Photo:

Index de Beistegui Penthouse, 147 Carthage section, 34
Belvedere, 71 Casa da Musica (Portugal), 99
Aalto, Alvar, 110, 177 Berkel, Ben van, 32, 55 Casa das Historias Paula Rego, 56
Abierta, Ciudad, 198 Berklee School of Music, 204 Casa Das Mudas, 171
Acropolis, 78 Berlin Chair, 111 Casa del Fascio, 34, 87
Adaptive Component Seminar (2009), 33 Bernini, Gian Lorenzo, 12 Casa del Popolo, 87
Adler and Sullivan, 166 Bete Giyorgis, 69 Casa Gilardi, 122
Adler House, 176 Bijvoet, Bernard, 114 Casa Girasole (Sunflower House), 61
Agrarian Graduate School of Ponte de Lima, 137 Bissegger, Peter, 115 Casa Malaparte, 128
Allied and Arts Industries, 206 Blanc, Patrick, 149 Casa Pentimento, 205
Altes Museum, 107 Boa Nova Tea House, 51 Casa Polli, 70
Aluminaire, 206 Bo Bardi, Lina, 71, 127 Case Study House #22, 204
analysis Bocconi University, 70 CAST, 199
Bordeaux House, 39–40 Castelvecchio, 115
abstraction, 14–15 Bordeaux Law Courts, 140 Castle Hedingham, 13
coauthorship, 16 Borromini, Francesco, 10, 12, 135 Castle of Prague, 137
components, 14 Bos, Caroline, 32 Cenotaph for a Warrior, 141
diagramming, 15 Botta, Mario, 128 Center for the Advancement of Public Action, 50
intermediary devices, 15–17 Boullée, Étienne-Louis, 141 Center for the Arab World, 123
interpretation, 15–17 Bourges, Romain de, 104 Centre Georges Pompidou, 131
precedent, 10, 13 Braghieri, G., 35 Cha, Jae, 47
project givens, 10 Brandhorst Museum, 121 Chanin Building, 210
Ando, Tadao, 121 Brazilian Museum of Sculpture, 67 Chapel at MIT, 118
Appliance House, 214 Bremerhaven 2000 competition, 85 Chapel of St. Ignatius, 119
Arc de Triomphe, 38, 147 Brown Derby restaurants, 140 Chareau, Pierre, 69, 114
Arch, B., 17 Brown, Frank, 175 Chemetoff, Alexandre, 160
Arch of Augustus, 38 Bruder Klaus Field Chapel, 199 Chew, Kimberly, 17
Arp, Hans, 122 Burgo Paper Factory, 77 Chicago Tribune office, 113
Arts Center (Portugal), 171 Burnham, Daniel, 193 Chiesa Nuova, 135
Asplund, Erik Gunnar, 186 Burnham Pavilion, 193 Chinati Foundation, 154
Astaire, Fred, 142 Burri, Alberto, 66 Chirico, Giorgio de, 10
Astana National Library, 154 Bus Rapid Transit system (Brazil), 162 Chrysalis III, 215
Atheneum, 127 Café Aubette, 122 Church of Santa Maria, 104
Auditorium Building (Chicago), 166 Caffé Pedrocchi, 136 Church of St. George (Ethiopia), 69
Autodesk Inc., 153 Cais das Artes (Arts Quay), 68 Church of the Light (Japan), 121
Automobile Museum (China), 131 CaixaForum gallery, 149 Church of the Sacred Heart (Prague), 143
Bacardi Rum bottling plant, 80 Calatrava, Santiago, 81 City of Culture of Galicia, 53
Bagsværd Church, 178 Camera Obscura, 200 City of Refuge, 166
Bamboo Garden, 160 Campidoglio, 137 concept
Bandel, Hannskarl, 115 Candela, Felix, 80
Barlindhaug Consult, 57 Carabanchel housing project, 61 flexibility and, 20, 23
Barragan, David, 205 Cardiff Bay Opera House, 212 ideas compared to, 20
Barragán, Luis, 122 Carnicero, Iñaqui, 152, 175–176 material models, 24
Barrière du Trône, 142 Carpenter Center for the Visual Arts, 44 overlays, 24
Batay-Csorba, Andrew, 194 Carré d’Art, 185 parti diagram, 24
BCHO Architects, 199 relief models, 24
Behnisch, Gunther, 74 sketches, 23–25
Behrens, Peter, 183

thumbnail sketches, 23–24 environment grids 220 221
Congress Hall, 10 energy, 62 proportions, 186–187
context holistic view, 62 reference, 185–186
instrumentation, 60–62 rhythm, 186
environmental context, 56–57 materials, 62 tartan grid, 186
ephemeral context, 54–56 passive instrumentation, 60
extreme variability, 56 recycled materials, 62 Guarini, Guarino, 104
historical, 56 remediation, 62 Guggenheim Museum, 128
infrastructural context, 53–54 responsive instrumentation, 60, 62 Gwangju Design Biennale, 200
layers, 53 static instrumentation, 60 Habitat ’67, 174
material, 50 sustainable environments, 62–63 Haesley Nine Bridges Golf Club House, 76
narrative, 55 Hakozaki Interchange, 158
networks, 54 Epi-phyte Lab, 62 Hamar Bispegaard Museum, 98
physical context, 50, 53 Erechtheion, 78 Hangar 16 (Spain), 152
scale, 50 e-Skin project, 61 Hanil Visitors Center & Guest House, 199
site, 53 Europa City, 210 Hannover Merzbau, 115
space, 53 Eyck, Aldo van, 45 Harris, Kerenza, 30
tradition, 55 fabrication Hays, K. Michael, 183
weather, 56 Heatherwick Studio, 94
Cortona, Pietro da, 105 craft, 199 Hedmark Cathedral Museum, 22
Cretto, 66 digital fabrication, 200 Hejduk, John, 167–168
Crown Hall, 183 Falling Water, 210 Hemeroscopium, 74
Cruvellier, Mark, 79 Fehn, Sverre, 21–22, 98 Henan province, 56
Cupkova, Dana, 33 Fencing Academy (Rome), 11 Hendrix, Jimi, 140
Cushicle, 112 Ferris, Hugh, 210 Herdeg, Klaus, 54
Dalbet, Louis, 114 Fiat automobile factory, 112 Herron, Ron, 213
Danish Design Center, 15 Fibonacci series, 190 Hertzberger, Hermann, 13
datum Fiorentino, Mario, 71 Herzog, Jacques, 31, 41, 91–93, 95, 149, 174
axis, 170 Fleisher House, 176 Heumann, A., 33
grid, 170 Fong, Steven, 111 Hoenheim-Nord Terminus and Car Park, 212
horizon, 170 Formal Structure in Indian Architecture exhibi- Holl, Steven, 20, 35, 119–120
mass, 170 Holme, Thomas, 184
space, 169 tion, 54 Homeostatic Façade System, 96
surface, 166, 169 Forster, Kurt, 107 House II, 187
David, Paolo, 171 forum of Pompeii, 179 House in Djerba, Tunisia, 13
Debord, Guy, 129 Fosse Ardeatine, 71 House in Pound Ridge, 14
defamiliarization Foster, Norman, 154 Hringbraut & Njardagata, 159
accident, 148 Francesca, Piero della, 105 HSBC building (Hong Kong), 154
appropriation, 147 Frederick C. Robie House, 171 Hutton, Sauerbruch, 121
decontextualization, 148 Freedom Trail, 158 IBA Housing, 212
extension of awareness, 149 Freitag, 207 Icelandic turf house, 60
operations, 147–148 Freundt, M., 33 Ihida-Stansbury, Kaori, 61
poetics, 149 Frey, Albert, 206 IIT, 183
reception, 148–149 Friedman, Yona, 207 infrastructure
receptivity, 148 Füeg, Franz, 90
recontextualization, 148 Fuksas, Massimiliano, 71, 98 anticipatory networks, 161
subversion, 147–148 Fun Palace, 162 circulatory networks, 161
wonder, 148 Galfetti, Aurelio, 170 context, 53–54
De Maria, Walter, 149 Galician Center of Contemporary Art, 51–52 cultural networks, 160–161
Désert de Retz, 141 Gallaratese II Housing, 10 evanescent, 160
Design Miami 2011 fair, 97 García-Abril, Antón, 74 physical, 158, 160
Destailleur, François-Hippolyte, 104 Gateway Arch, 115 scales of engagement, 160
Dia Foundation, 149 Gehry, Frank, 142 system armatures, 158, 160
dialogue Genesis pavilion, 97 Ingber, Donald, 191
addition, 136 geometry Integral Urban Project, 159
contrast, 136 International Exhibition (Barcelona), 148
enrichment, 136 Boolean operations, 193 Ito, Toyo, 20, 23
indexing, 137 building information modeling (BIM), 195 Ivernizzi, Angelo, 61
redirection, 136 complexities, 193–194 James Corner Field Operations, 159
scales of, 137 constructive solid geometry (CSG), 193 Jappelli, Giuseppe, 136
Doesburg, Theo van, 122 descriptive geometry, 192–193 Jewell, W., 33
Doge’s Palace, 134 golden ratio, 190 J. Mayer H., 32
Dominus Winery, 92 networks, 194–195 Johannesson, Sigvald, 107
Double Chimney House, 57 numbers, 190 John F. Kennedy Airport, 140
Doxiadis, Constantinos, 102 parametrics, 193–194 John Nichols Printmakers, 29
Duganne, Jack, 30 variability, 194 Johnson Museum (New York), 69
Dürer, Albrecht, 185 German Pavilion (International Exhibition, Barce- Johnson, Philip, 118, 155
Dymaxion House, 191 Johnson Wax Headquarters, 77
Dynamic Façade, 152 lona), 148 Judd, Donald, 154
Eames, Charles, 185 Giedion, Sigfried, 103 Kahn, Louis, 123, 175–176, 179
Eames, Ray, 185 Giorgio Martini, Francesco di, 186 Kahn’s Dominican Sisters, 179
East River Waterfront Esplanade, 163 Glama Kim Architects, 206 Kantana Film and Animation Institute, 199
EatMe Wall project, 33 Glass House, 155 Karkkainen, Maija, 21
EcoARK, 63 Global Seed Vault, 57 Kaufmann, Edgar J., 210
Eggen, Arne, 79 Goethe, Johann Wolfgang von, 121 Kepes, Gyorgy, 103
Einar Jonsson House, 50 Gogol, Nikolai, 141 Kiefer Technic Showroom, 152
El Camino de Santiago, 126 Goldenberg House, 176 Kimbell Art Museum, 123
El Greco Congress Center, 134 Gothenburg Town Hall (Sweden), 186 Kocher, A. Lawrence, 206
Entenza, John, 204 Grand Canal (Venice), 169 Koenig, Pierre, 204
Gray, Eileen, 153
Greek cross, 176
Green Negligee, 62

THE LANGUAGE OF ARCHITECTURE Kolbe, Georg, 148 Mathíesen, Óli, 206 Nordic House, 110
Koolhaas, Rem, 39 Matté Trucco, Giacomo, 112 Norman Foster + Partners, 185
Kudless, Andrew, 215 MAXXI Museum of XXI Century Arts, 25 Norwegian Glacier Museum, 21
Kufferman, David, 195 Mayne, Thom, 29–30, 194 “Nose, The” (Nikolai Gogol), 141
Kulve, Thor ter, 160 Melville, Herman, 12 Notre Dame du Haut, 119
Kunsthal, 40 Memorial Sloane-Kettering Cancer Center Lobby, Nouvel, Jean, 123
Kunstmuseum, 94 O’Donnell, Caroline, 63
Kurokawa, Kisho, 205 35 Olmstead, Frederick Law, 161
Kursaal Auditorium and Congress Center, 113 Memorial to the Martyrs of the Deportation, 171 Olympic Sculpture Park, 158
KVA, 96 Mendes da Rocha, Paulo, 67–68 OMA (Office for Metropolitan Architecture),
Landscape Formation-One, 130 Method Design, 195
Largo de João Franco, 160 Metrocable San Javier, 159 39–40, 99
Laser Machine and Tool Factory, 85 Metropol Parasol, 32 1111 Lincoln Road garage, 41
Laurenz Foundation, 93 Meuron, Pierre de, 31, 41, 91–93, 95, 149, 174 Orange Cube, 87
Lavis, Fred, 107 Michelangelo, 11, 28, 84, 137, 190 Oratory Complex of Saint Phillip Neri, 10
Leatherbarrow, David, 95 Mies van der Rohe, Ludwig, 11, 31, 148, 183 Oratory of the Filippini, 135
Le Corbusier, 34, 44, 47, 103, 117, 118, 119, 126, 147, Milan Biennale, 213 order
Millcreek Apartments, 176
166, 187, 190 Milwaukee Art Museum, 81 aggregation, 178
Ledoux, Claude-Nicolas, 45, 142 MINIWIZ, 63 hierarchy, 178–179
Le Fresnoy Art Center, 169 Mirador (Spain), 177 repetition, 174, 177
Leite Siza, Álvaro, 53 Miralles, Enric, 28 Östberg, Ragnar, 134
Lequeu, Jean-Jacques, 84, 141 Möbius House, 55 Otto, Frei, 74
Lewis, David J., 16, 212 Modulor 2 proportioning system, 190 Oudolf, Piet, 159
Libera, Adalberto, 128 Mollino, Carlo, 143 Ovalles, Larisa, 146, 147
light MoMA (Museum of Modern Art), 63, 168, 204 Palazzo Canossa, 84
Monastery of the Lima Refóios, 137 Palazzo dei Conservatori, 137
chiaroscuro, 121 Mondrian, Piet, 111 Palazzo del Senatore, 190
color, 121–122 Moneo, Rafael, 54, 113, 134 Palazzo Ossoli, 12
distortion, 121 Monville, Françoise Racine de, 141 Palladio, Andrea, 106, 175
instruments, 122 Morandi, Giorgio, 119 Palmanova, 190
perceptual color, 122 Moretti, Luigi, 11–12, 104 Pantheon, 122
spatial transformation, 118, 121 Mosque-Cathedral of Córdoba, 182 Paper Bridge (France), 76
symbolic color, 121 Mostafavi, Mohsen, 95 Parc de la Villette, 155, 160
textures, 118 Moura, Souto, 56 parti diagram, 24
Lim, C. J., 215 movement Party Wall, 63
Lincoln’s Inn Fields, 43 Passage des Panoramas, 104
Lin, Maya, 134 amplification, 130 Passage Jouffroy, 104
London Design Festival, 75 attenuated, 128 Patriarch Plaza, 68
Loos, Adolf, 113 continuous, 128 Pavilion for Vodka Ceremonies, 42
Louisiana Sports Hall of Fame Museum, 195 curating space, 126–127 Peak Leisure Club, The, 211, 212
Lower Roadway (New Jersey Route 139), 107 dialogue, 130 Pei, I. M., 69
Lowry, Glenn, 204 filmic, 126 Pelletier, James, 194
LTL Architects, 35, 212 interface, 130 Penang Turf Club, 30
Lucia, Andrew, 61 interrupted, 129 Penn, William, 184
Lu Wenyu, 66 narrative, 127 Perot Museum of Nature and Science, 30
Mãe D’Água Amoreiras Reservoir, 146 parallel sequences, 131 Perruzzi, Baldassarre, 12
Maison Carrée, 185 processional, 126 Perugini, Giuseppe, 71
Maison de Verre, 69, 114 random, 129 Pevsner, Nikolaus, 6
Manhattan Transcript, 214 sequence, 128–129 Pezo, Mauricio, 70
Mardel, Carlos, 146 simultaneous sequences, 131 Phidias, 78
Marklee, Johnston, 53 theatrical, 127 Piano, Renzo, 131
mass Munich Olympic Stadium, 74 Piazza di Spagna, 46
additive processes, 66 Murphy, James Cavanah, 182 Pingusson, Georges-Henri, 171
characteristics, 70–71 Museum and Park Kalkriese, 129 Pinós, Carme, 28
density, 70 Museum for Roman Artifacts, 54 Piranesi, Giovanni Battista, 120
gravity, 70 Museum of Graffiti, 98 Pius Church, 90
processes, 66, 69 Musical Studies Center (Spain), 99 Plečnik, Jože, 137, 143
subtractive processes, 69 Music Faculty (Austria), 32 POLLI-Bricks, 63
materials Music Tower (Berklee School of Music), 204 Pompeian house, 121
acoustic, 94 myThread pavilion, 201 Pont du Gard, 76
assembly, 98 NAi Collection, 167 Ponti, Gio, 34
bamboo, 97 Nakagin Capsule Tower, 205 Porch of the Caryatids, 78
behaviors, 94–96 National Congress of Brazil, 179 Pousada Santa Marinha, 135
characteristics, 90, 94 Nationale-Nederlanden, 142 Prada Tokyo, 31
constructive processes, 97–98 National Music Centre, 25 prefabrication
cultural indices, 99 National Tourist Routes (Norway), 129 sitelessness, 206
detail/jointure, 98 National Veterinary Investigation Laboratory, 170 standardization, 204
environmental changes, 98 Negron, Jonathan, 105 Premthada, Boonserm, 199
indices, 99 Nelson-Atkins Museum of Art, 120 presentation
manufacturing methods, 97 Nemesi Architetti Associati, 130 audience, 210, 213
models, 24 Nervi, Pier Luigi, 77 documentary, 210
nanotechnologies, 96 New Jersey Route 139, 107 evocative, 213
permeability, 94 New National Gallery, 183 media, 213
phenomenal characteristics, 90, 94 New York Earth Room, 149 Price, Cedric, 162
program indices, 99 Nicol, F., 61 program
responsiveness, 95 Niemeyer, Oscar, 179 bodies, dimensional accommodation of, 38
site indices, 99 Nike Stadium, 201 codes, 43–44
smart materials, 96 Ningbo Historic Museum, 66 dimensional imperatives, 38, 41
textures, 94 Nolli, Giambattista, 102 empathy, 45
weather and, 95 Nolli Plan of Rome, 69 empirical aspect, 38, 41–44
Nordic Biennale Pavilion, 22

functionality, 42 Schröder House, 111 Town Hall (Reykjavík), 54 222 223
hybridization, 46 Schwitters, Kurt, 115 Town Hall (Stockholm), 134
innovative program, 45–47 Sculpture Gallery, 118 Trajan’s Market, 130
limitations as advantages, 46–47 Seagram Building, 183 transformations
orientation, 43 Seattle Art Museum, 158
relational elements, 42–43 Seed Cathedral, 94 implied, 153–154
Proyecto Urbano Integral (Integral Urban Project), Self Assembly Lab, 153 literal, 152–153
Sendai Mediatheque, 20, 23 perception and memory role, 154
159 Serigraph, 29 programmatic, 153
Quadracci Pavilion, 81 SESC Pompéia São Paulo Recreation Center, 127 smart materials, 153
Quesada Lombo, D., 33 Shakespeare, William, 6, 142 temporal, 152
Quinta da Malagueira, 159 Shanghai Expo, 94 theme, 154
Quinta Monroy, 163 Shklovsky, Viktor, 146 topological, 152–153
Rahul Mehrotra Associates, 60 Siamese Towers, 70 variation, 154
Rapid Re(f)use: Waste to Resource City, 63 Simitch, Andrea, 16 Trenton Jewish Community Center Bath House and
Rendezvous at Bellevue, 141 Simmons Hall, 20
representation Sir John Soane’s Museum, 43 Day Camp, 175, 176
Sixth Order, 200 Trinità dei Monti, 46
analog drawings, 28, 31 Siza, Álvaro, 110 Trombe walls, 60
digital drawings, 32–33 Siza Vieira, Álvaro, 13, 51–52, 159 tropes
sketches, 28 Skylar Tibbits, 153
representations Sky Transport (London), 215 expressive tropes, 143
animations, 35 Sloan & Robertson, 210 hyperbole, 142
axonometrics, 34 Sloan, William, 107 irony, 142
elevations, 34 Slow House, 31 metaphors, 140–141
hybrids, 35 Slutzky, Robert, 103 metonymy, 141
perspective drawings, 35 Soane, John, 43 operative tropes, 143
plans, 34 Søderman, Peter W., 57 personification, 143
sections, 34 Soft House, 96 types, 140–143
Richard Rogers Partnership, 140 Soltan, Jerzy, 44, 47 values and perceptions, 143
Ricola-Europe production and storage hall, 95 Souto de Moura, Eduardo, 135 Truffle, 198
Ricola Warehouse, 91 space TRUTEC Building, 86
Rietveld, Gerrit, 111 Tsien, Billie, 50
Robinson, Heath, 215 spatial illusion, 105–107 Tugendhat House, 11
Rocha, João Álvaro, 170 spatial zones, 104–105 Tungeneset rest stop, 129
Rockcastle, Siobhan, 62 Spanish Steps, 46 TWA Flight Center, 140
Rogers, Ginger, 142 Specchi, Alessandro, 46 Tyng, Anne, 175
Rogers, Richard, 131 Spillman Echsle Architekten, 207 Ungers, Oswald Matthias, 142
Rolex Learning Center, 79 S. R. Crown Hall, 183 Ungers, Simon, 95
Rome International Exposition, 10 Stevens, Wallace, 101 Unité d’habitation, 190
Rosa, Richard, II, 39–40 Stone House, 91 Utkin, Ilya, 213
Rowe, Colin, 103 Stratasys, 153 Utzon, Jørn, 178, 192
Royal Saltworks, 45 structure Vairão parish, 170
Ruchat, Flora, 170 beams, 79 Vaux, Calvert, 161
Rughesi, Fausto, 135 columns, 77–78, 81 Verdeau, Passage, 104
Saarinen, Eero, 115, 118, 140 domes, 80 Vertical Garden, 149
Sacro Monte, 55 elements, 77–80 Vienna Hofburg, 50
Saez, Jose Maria, 205 hybrids, 80 Vietnam Veterans Memorial, 134
Safdie, Moshe, 174 slabs, 79–80 View House, 53
Sainte-Marie de La Tourette monastery, 118 space, 81 Vignola, Giacomo Barozzi da, 114
Sala Suggia, 99 space frames, 80 Villa at Carthage, 34
Salvation Army Building, 166 trusses, 79 Villa Planchart, 34
SANAA, 79 vaults, 80 Villa Savoye, 103, 126
Sánchez García, José María, 169 walls, 77 Villa Schwob, 187
Sanctis, Francesco de, 46 Study of Fortifications Number 27, 28 Vitra Fire Station, 212
Sandaker, Bjorn, 79 Superstudio, 213 Vitrahaus, 174
San Giovanni dei Fiorentini, 11 surface Wake, D., 33
San Lorenzo, 84 interfaces, 87 Wall Houses, 167–168
Sanmicheli, Michele, 84 perception, 84, 87 Wang Shu, 66
Sanne, Dyveke, 57 performance, 87 Warke, Val, 146, 147, 194
San Paolo Apostolo, 71 Sydney Opera House, 192 Washington University Library competition, 176
Santa Maria Church (Portugal), 110 Taeuber-Arp, Sophie, 122 Wasserman, Jeff, 30
Santa Maria della Pace, 105 Taipei International Flora Exposition, 63 Waterfront Greenway Park, 163
Santa Maria do Bouro Convent, 135 Tange, Kenzo, 182 Webb, Michael, 112
Santa Marinha Convent, 136 Tata Institute of Social Sciences (TISS), 60 Weiss/Manfredi, 158
Santini, Jan Blažej, 190 Távora, Fernando, 135, 136, 137 Wells, Jerry, 14, 105
São Paulo Museum of Art, 71 Teatro del Mondo, 110 West, Mark, 199
Sasaki, Matsuro, 23 Teatro Olimpico, 106 Whiteread, Rachel, 104
scale Teatro Regia, 143 Williamson, Jim, 146, 147
body, 110, 112–113 Technology Center (Catholic University), 70 Williams, Tod, 50
interlocking scales, 115 Tempe à Pailla, 153 Wills, Allison, 146
multiple scales, 114 Temple of Diana, 169 Wolfsburg Cultural Center, 177
near and far, 113–115 Temporary Housing Shelter (Onagawa), 76 Wright, Frank Lloyd, 77, 103, 128, 171, 183, 210
perceptual body, 112–113 Terragni, Giuseppe, 10, 34, 87 Yang, Shu, 61
physical body, 110, 112 Terreform ONE, 63 Yeadon, Decker, 96
quotidian versus monumental, 115 Thermal Baths, 66 Zenghelis, Elia, 39
Scamozzi, Vincenzo, 106, 190 T-House, 95 Zevi, Bruno, 103
Scarpa, Carlo, 115 Ting, Selwyn, 29 Zhu, Lisa, 147
Schinkel, Karl Friedrich, 107, 183 Tokyo Metropolitan Expressway, 158 Zumthor, Peter, 66, 94, 199
Schmarzow, August, 102 Tolo House, 53
Tour Total, 86

About the Authors

THE LANGUAGE OF ARCHITECTURE Andrea Simitch is an educator and an America. She has been a panelist on the New Design at Cornell. Previously, he was an
architect. She is the Director of the Bachelor York State Council on the Arts and a visiting assistant professor at Harvard University's
of Architecture Program at Cornell Univer- professor at numerous universities including Graduate School of Design. He has authored
sity, and an associate professor with tenure. The University of Toronto, Rensselaer numerous essays on architectural design,
She has also served as Associate Dean of Polytechnic Institute, Tunghai University, and criticism, and theory, which have appeared in
Cornell's College of Architecture, Art, and The University of Minnesota. She is also a journals such as Assemblage, A+U, Cornell
Planning, and as Director of Undergraduate principal of Simitch + Warke Architects, a Journal of Architecture, and Harvard Design
Studies. She studied architecture at the École collaborative practice with work that includes Magazine, as well as in many monographs;
Spécial d'Architecture in Paris and received residential, commercial, and speculative and he has collaborated with Thom Mayne in
her B.Arch. degree from Cornell University projects. Her collages have been included in writing the book Morphosis. Recently, his
in 1979. She began her teaching career Joao Alvaro Rocha’s monograph Architectures, research has focused on genre theory, including
at Cornell in 1983 and was the first female and she has contributed several essays to the issues of fashion, formalism, populism,
architect to be granted tenure in the Cornell Journal of Architecture, most recently reception, and various associations to literary
Department of Architecture there. She "Re-Collage" in number 8. theory and criticism, especially as related to
teaches courses in architectural design as the work of Mikhail Bakhtin. As a partner in
well as architectural representation and Val Warke is an associate professor at Cornell Simitch + Warke, he has collaborated on
furniture design, with works by her students University’s Department of Architecture, where the design of numerous projects and
having been exhibited at the International he has been a department chair, a director of competitions from the scale of the house
Contemporary Furniture Fair in New York. graduate studies, and the coordinator of the to that of the city. He received his B.Arch.
She has taught extensively for Cornell in first year B.Arch. program. In addition to from Cornell University and his M.Arch.
numerous international venues that include architecture, he is also a member of the from Harvard University.
Europe, Central America, and South graduate field of Fabric Science and Apparel

Acknowledgments

Few books are solitary events, and this one, technologically and logistically—we couldn’t contributions. The Department of Architec-
especially, was a group effort. Everything possibly have done. Anh Tran, Caio Barboza, ture and the College of Architecture,
began when Sheila Kennedy sent this project Mia Kang, and Mauricio Vieto provided Art, and Planning at Cornell generously
in our direction. Ashley Mendelsohn helped significant assistance along the way. Special supported this project with additional
us get started, plotting the original maps thanks are owed to Iñaqui Carnicero, Steven funding. And finally, we wish to recognize
so that we could trace a route. Mikhail Fong, Michael Hays, David Lewis, Richard our colleagues, whose banter and observa-
Grinwald and Natalie Kwee were with us for Rosa, Jenny Sabin, and Jim Williamson, tions can undoubtedly be seen percolating
the duration, and have done everything— who spiced the broth with their insightful throughout these pages.