The juxtapositions of Zaha Hadid’s architectural models and drawings and Judith Turner’s photographs of the architect’s buildings in this volume reveal that Hadid and Turner are complicit. Hadid does not design with complete geometries in stable configurations, but designs instead with incomplete or distorted geometries that are dynamic and visually unstable. Turner does the same in her photographs, cropping before a form completes itself in a frame that leaves the rest of the form suggested outside the frame. Hadid structures her designs dynamically with diagonal lines and oblique planes playing with and against each other in three-dimensional fields.