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http://literaturaalemanaunlp-robert-musil-las-tribulaciones-del-estudiante-torless.pdf
"burbujas" Tomás Saraceno y Archigram; edificios-solario: A. Aalto, Inst. Otaniemi, y J. Stirling, Florey Building +1.

  los científicos de la época clásica parecen haber olvidado que hasta el simple hecho de ver un objeto físico debe necesariamente entrañar una modificación del estado del objeto percibido. Se sabía, ciertamente, que para ver un objeto era preciso enviar un haz de luz que se refleje sobre él y retorne hacia el observador, y se sabía igualmente que (según la teoría de Maxwell confirmada por los experimentos de Lébédeft) este haz de luz debía ejercer una presión sobre el objeto iluminado modificando así su estado. Pero, como con cuerpos macroscópicos las modificaciones provocadas por la luz que se utiliza para observarlos son en realidad negligibles, se tendía demasiado a subestimar su importancia de este hecho, y nadie antes de Heisenberg había pensado en sacar todas las consecuencias importantes que implica...
pero no, la televisión absorbe estas escenas terribles. Debemos verlos. No hay problema. Las armas son buenas. Los cuerpos son malos.

The role of the architect in the building process would seem to have been reduced to that of a visagiste.

perniciously confusing as Nikolaus Pevsner's proposition that Lincoln Cathedral is architecture and a bicycle shed is not. This was not only a piece of academic snobbery that can only offend a committed cyclist, but also revolves a supposition about sheds that is so sweeping as to be almost racist... What one can know by practised observation, however (and what Pevsner may even have meant), is that cathedrals (including ugly ones) are generally designed modo architectorum, and bicycle sheds (even handsome ones) are more commonly done in one of the numerous other modes of designing buildings available. Such is the cultural prestige of the purely architectural mode, however, ... there has been a long tradition from before Adolf Loos to after Cedric Price of using comparisons with certifiably non-architectural objects (from peasant crafts to advanced electronics), to reveal how bad regular architecture had become. Quite a lot of these paragons were indeed buildings, and good ones at that, but once they, in their turn, had become incorporated into the architectural canon, they lost their critical power and left the body of architecture confused rather than reformed.