Experimental architecture by its very nature is more prone to the depredations of time and natural elements than buildings made from conventional materials through traditional methods. Avant-garde architects often simply do not know how the products of their imagination will perform when implemented, especially if untested components are involved.

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.

Elevated locations imply elevated purposes, even in American cities departing as radically as Los Angeles does from the traditional planning patterns of the Eastern Seaboard.

Few developments central to the history of art have been so misrepresented or misunderstood as the brief, brave, glorious, doomed life of the Bauhaus - the epochally influential German art, architecture, crafts, and design school that was founded in Goethe's sleepy hometown of Weimar in 1919.

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.

From the outset, MoMA followed the Bauhaus's strict prohibition against design that even hinted at the decorative, a prejudice that skewed the pioneering museum's view of Modernism for decades.

Architecture was the last of the major professions to devise a formal 'cursus honorum' before its practice could be undertaken.