The diagram is divided into two rectangular parts. The top part is labeled “case studies,” with five sections organized by various themes that are represented through both text and images. The first section on the left is titled “1. VICTIMS,” arranged vertically in a wavy pattern. Right to it, the second section shows a photograph of a building with a detailed interior that appears here, specifically the “2. Roman numeral 2 Fondaco dei Tedeschi.” This building, located in Venice, Italy, features a monumental space with numerous arched windows arranged in vertical rows, showcasing a vibrant, artful design with intricate patterns and warm tones, contrasting the red lines framing the structure. The third section, positioned next to the second one, is labeled “3. Knut Hamsun Center,” appearing in the shape of a black-and-white photo featuring a striking modern structure. The building is mostly black, with a white, irregularly shaped opening cut out on the side, which adds a unique visual rhythm to the image. The landscape around the building is rough, with nature and sparse trees scattered around. The fourth section is titled “4. Can Tacó” and includes a hand-drawn sketch of an architectural layout. The sketch appears as an organic, flowing design, with several curves and circular features, possibly indicating a fluid structure or urban space. The lines are dynamic, creating a sense of openness and movement, especially with the addition of varying thicknesses of the lines. The fifth and final section, “5. Sala Beckett,” is placed to the far right. This section features a black-and-white photo of a modern space with a curvaceous interior, highlighting clean lines and smooth, rounded shapes. The space includes a minimalist staircase that spirals upwards, contrasting with the room’s sleek, continuous surfaces. Each section labeled from left to right as “HOLOCAUST,” “SPECTACLE,” “IDENTITY,” “RE-TERRITORIALIZATION,” and “OBJECT SYSTEMS” is placed along the bottom of the top part. The bottom part is labeled “complementary works” and also displays a sequence of five complementary architectural works, each identified by numbered labels. The first section on the left, labeled “1. The Theatre of the World,” features a diagrammatic representation of a building with a central rectangular form, topped by a pointed, turret-like structure. The design is symmetrical, divided into sections by horizontal and vertical lines, which suggest a sense of proportion and balance typical of classical architecture. The second section is labeled “2. Cartuja,” showing a black and white photo of a minimalist white cube-like structure. Surrounded by trees, the stark white building contrasts with the organic forms of the landscape, creating a dynamic tension between the modern structure and its natural environment. The third section, labeled “3. Steilneset Memorial,” depicts a photo of a stone memorial structure. The memorial is low and horizontal, built from smooth white stones, and set against a backdrop of rocky terrain and trees. The space exudes a sense of calm, and the natural elements emphasize the solemnity of the memorial. The fourth section is labeled “4. Bonaval,” showcasing a photo of an open grassy area with a stone wall and a doorway within the wall. The design appears tranquil, with the stone wall creating a boundary that invites the viewer to enter a secluded space. Finally, the fifth section, labeled “5. ZIGZAG exhibit,” shows a photo of an interior gallery space with white walls. The text “LA SALA DE” is written in bold letters on the wall, indicating the exhibit’s name, and an old person is standing near the right side of the wall and pointing toward it. The sections in the top and bottom parts are connected by red dotted curved lines.Methodology applied in the case studies chosen from the field of contemporary architecture. Analysis of works featuring themes at the heart of the development of contemporary culture, from late 1970s to the present. Source: Authors’ own work from source images. On the top from the left to right: (1) Authors’ own work, (2) Fondaco dei Tedeschi (Photo: KHRawlings, from Flickr. Image used with permission of the author), (3) Knut Hamsun Center (Photo: Iwan Baan, (4) Sketch Can Tacó (Toni Gironés. Courtesy of Estudi d’arquitectura Toni Gironés Saderra) and (5) Sala Beckett (Photo: Adriá Goula. Courtesy of Flores & Prats). On the bottom from the left to right: (1) Sketch The Theatre of the world (Authors’ own work from drawings in Hejduk (1993)), (2) Cartuja (Photo: The authors), (3) Steilneset (Bjarne Riesgo, from Flickr. License CC BY 2.0), (4) Bonaval (Photo: Authors’ own work) and (5) Zig-Zag exhibition (Photo: Courtesy of Estudio José Ramón Sierra)