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.

There can be little question that the tall building presents one of the most difficult challenges to the architect.

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.

The popular mythology of creative genius depends on beloved stereotypes of the artist in youth and old age: the misunderstood upstart who forces us to see the world afresh; and the revered sage who shows us depths of insight attainable only through a lifetime of hard-won experience.

What a museum chooses to exhibit is sometimes less important than how such decisions are made and what values inform them. To have the crucial role of museum professionals usurped by self-serving tycoons in the name of economic imperative threatens not only the integrity of individual institutions but the very principle of art held in public trust.

The skyscraper style first advocated by Louis Sullivan - a tower of strongly vertical character with clear definitions among base, shaft, and crown - has remained remarkably consistent throughout the history of this building type.

The financial benefits of prefabrication have never been as large as its advocates predicted, for although some labor costs can be reduced by machine manufacturing, on-site assembly of any building still depends to some extent on the handwork of skilled craftsmen.