Abstract
Aglaia Konrad’s film about The Gillet House, of which some stills and photographs are shown in this issue, does not present a visual portrait or narrative of this particular project, but rather is an investigation of what she considers to be the essence of sculptural architecture of which this house forms an illustration, although it is not a unique example. Going beyond a mere visual documentation of the architectural object discussed, she presents a critical reading of architecture via a visual medium.