For architects, it is a project perhaps more recognizable in plan than in photograph. The dazzling rhythmic complexity of the construction drawings for Barcelona’s Olympic Archery Range, completed in 1991, brought more fame to the 1992 Olympic event than any arrow shot from the buildings’ shadow. The drawings show an overlay of organic curves and rectilinear shapes working in sublime harmony, producing a composition that clearly conveys both the architects' concept and the process through which it was developed. Amazingly, the project is no less spectacular in person than on paper, and its completion helped launch the husband-and-wife partnership of Enric Miralles and Carme Pinós into international stardom.

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As one architectural scholar described it, Luigi Moretti’s 1950 Casa “Il Girasole” is “a bit of madness on the solidity of Roman walls.” [1] Yet, this clever apartment building in the heart of Rome is far from the work of a madman. Its subtle historical allusions and deliberately ambiguous composition betray the genius of the architect’s creative and analytical mind. Moretti, whose notable commissions include Villa La Saracena (1957), Montreal’s Stock Exchange Tower (1964), and the Watergate Complex (1971), achieves a complexity of form and materiality in “Il Girasole” that distinguishes the project from its mid-century contemporaries and has earned it recognition as one of the earliest forerunners of postmodern design.

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Ten years after its completion, the reputation of the Scottish Parliament Building is finally being redefined. Among architects and the academic elite, it has long been heralded as a masterpiece of abstract modernism and perhaps the finest work of Enric Miralles' all-too-short career. For the general public, however, it was initially known mainly in infamy for being overdue, over budget, and for having its commission awarded to a non-Scottish architect. Only now is it beginning to receive the public acceptance it deserves, as the genius of the architecture emerges from the shadow cast by its mired construction process.

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On the banks of the river Seine, just east of the Île de la Cité and downtown Paris, stand the four glittering towers of the National Library of France. Bent around the outskirts of a public esplanade, these towers are Dominique Perrault’s modern take on the age-old Parisian tradition of monumental public architecture. The project is both volume and void, enclosure and exposure, a juxtaposition of contrasting ideas that is as reverent of its place in a thousand-year-old legacy as it is deliberately self-critical.

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