All architecture, classical or not, must have some sense of order, and order is much harder to achieve without the straight lines and right angles that have dominated the building art from time immemorial.

The danger for any artist whose work is both recognizable and critically acclaimed is complacent repetition - the temptation to churn out easily identifiable, eagerly welcomed, and readily salable designs.

Considering my specialization in architecture, I'm not surprised that the first graphic novel to thoroughly engage, not to say captivate, me is Chip Kidd and Dave Taylor's 'Batman: Death by Design.'

Winning the Pritzker assures a flood of work in one's seventies and eighties, jobs necessarily carried out by assistants as the demands of modern-day cultural stardom and the inevitable waning of physical capacities prevent many architects from attaining the transcendent final phase more easily achieved by artists in other mediums.

One of the most persistent yet elusive dreams of the Modern Movement in architecture has been prefabrication: industrially made structures that can be assembled at a building site.

Before the professionalization of architecture in the nineteenth century, it was standard for an aspiring mason or carpenter to begin his apprenticeship at fourteen and to become a master builder by his early twenties.

After Lyndon Johnson's Great Society, the belief in decent housing as a political right or social obligation was supplanted in the U.S. by the notion that suitable shelter should be an act of charity.