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At the very moment when the death of theory by the victorious sword of the real has been loudly proclaimed, Michael Hays' lyrical return to the 1970s when architecture first fully realized its potential to become a conceptual practice is both welcome and much needed. His close attention to key works by Hejduk, Eisenman, and Rossi uncovers striking connections between this commonly repressed substratum and the instrumental turn recently taken by architects such as Bernard Tschumi and Rem Koolhaas and persuasively turns the 'reality' of contemporary architecture upside down to reveal our new 'real' to be driven by forces more mysterious and intangible than ever.(Sylvia Lavin, Director of Critical Studies and MA/PhD Programs, UCLA Department of Architecture and Urban Design)