ABSTRACT
In modern architectural debate, buildings are made by their description in the literature as much as they are defined by the reality of their construction. On this point, a relatively small glitch in the celebratory narrative of the roof of the Sydney Opera House – four columns that do not appear in the descriptions of the building – offers the opportunity to reflect on the generation of architecture's canons and perhaps the perceived need to elevate the subject matter by abstracting the engineering of its construction. While questioning the reasons for the absence of the columns from the biographies of the building, the essay articulates the value of embracing even the smaller details in projects’ histories.
