Notwithstanding contributions such as those articulated in Kenneth Frampton's Studies in Tectonic Culture (MIT Press, 1995), few authors have furthered a clear discourse concerning the relationships between construction techniques and formal ideas in architecture subsequent to the late twentieth-century critiques of Western Modernity. Moreover, such writing as there has been has tended to draw from the supposedly redemptive, recuperative and largely Heideggerian tenor of concerns regarding the relationship of humankind to technology and its desired capacity for architecture to mitigate, if not completely resist, the assumed imminent threat of technology to life itself.