Throughout history, and even today, it appears that architecture is obligated to develop its principles from nature, purely on the fact that nature "came into the world" first. Thus, by following these principles, architecture is supposedly justified because it adheres to the natural order of the universe. However, in traversing the historic processes of art, the legitimacy of nature as a prescriptive model is thrown into doubt when such a model becomes elusive and indeterminate.

It is the purpose of this book to show that rather than seek universal harmony by imitating that which occurs in nature, architecture actually demonstrates the human desire to harness and cultivate the natural environment, thereby embracing the primal conflict between nature art. By acknowledging this dialectical relationship, the book chooses to stay clear of delving into any existential thought derived from this conflict's more romantic notions; it also wishes to avoid any random speculations about issue that has been debated and interpreted centuries. Instead, by recognizing the specific epistemological value inherent in this opposition, it hopes to establish useful and tangible criteria for making aesthetic decisions in any architectural project.