To recognize a masterpiece in a lovely building is no great feat; the trick is to spot one in an object as insolent, as splendidly belligerent, as Paul Rudolph’s Art and Architecture Building at Yale.

The problem of adding onto an icon. To recognize a masterpiece in a lovely building is no great feat; the trick is to spot one in an object as insolent, as splendidly belligerent, as Paul Rudolph’s Art and Architecture Building at Yale. Few did so when it opened in 1963; it seemed willfully provocative, as if its baffling spatial sequences and corrugated concrete walls were expressly devised to repulse understanding, let alone affection. As it happened, it existed in this shocking form for only a few years before it was mauled beyond recognition. Now the A&A has been restored by