The juxtapositions of Zaha Hadid's architectural models and drawingsand Judith Turner's photographs of the architect's buildingsin this volume reveal that Hadid and Turner are complicit. There isa clear agreement of sensibilities. Each understands the other.In the first decades of Hadid's career, during which she collidedforms and designed in the fall-out, Hadid did not design wholes,but buildings composed of fragments. Like Hadid - but unlikemost architectural photographers, trained and paid to documentbuildings -Turner also does not photograph the whole, and rarelyincludes the context: her camera sees fragments instead, a collageof parts. Turner's photographs from this early period of Hadid'swork are fragmentary views of Hadid's fragmented buildings.Hadid's vision lends itself to Turner's.Hadid does not design with complete geometries in stable configurations,but designs instead with incomplete or distorted geometriesthat are dynamic and visually unstable. Turner does the samein her photographs, cropping before a form completes itself in aframe that leaves the rest of the form suggested outside the frame.Hadid's work is abstract - a permutation of Modernism's trifectaof point, line and plane. Turner's photography, too, is abstractso that Turner's photographs of Hadid's buildings compoundthe abstraction, arguably intensifying the three-dimensionalabstraction by compressing it into two. Hadid's neutral paletteof materials, especially concrete, takes on value in Turner's graphiccompositions of black, white and gray, counterintuitively givingneutrality subtle intensity.Hadid structures her designs dynamically with diagonal linesand oblique planes playing with and against each other in threedimensionalfields. Likewise Turner works on the diagonal, alwayspositioning herself obliquely to buildings, shooting glancingly ratherthan frontally: her diagonal position further dynamizes Hadid'salready energized diagonals. Often Turner doubles down on thediagonality by cranking the camera's lens off its up-down axis toheighten the architectural dynamism. Turning her photographicangle lofts Hadid's already anti-gravitational architectural systemoff the ground.Joseph Giovannini heads Giovannini Associates, a design firmbased in New York and Los Angeles. He holds a Master in Architecturefrom Harvard's Graduate School of Design. He has taughtat various Universities, among them Columbia University, Universityof California in Los Angeles, and University of Southern California.A graduate of Yale University, where he did his B.A. in English,Giovannini also holds a Master of Arts degree in French languageand literature from the Université Paris-Sorbonne.See also: Judith Turner, Seeing Ambiguity. Photographs ofArchitecture, Edition Axel Menges, 2012.