The products of architecture have been manifold, ranging from the daidala of classical antiquity to the gnomons, machinae and buildings of Vitruvius, from the gardens and ephemeral architecture of the Baroque period to the built and unbuilt ‘architecture of resistance’ of modernity such as Le Corbusier’s La Tourette, Gaudi’s Casa Batlo, or Hejduk’s ‘masques.’ This recognition is not merely linguistic (like a semantic pair where a=b), it occurs in experience and like in a poem, its ‘meaning’ is not separable from the experience of the poem itself.[i]  Alberto Perez Gomez – ‘Hermeneutics as Architectural Discourse’