If youre able to pull yourself away from the third season of The White Lotus, in which Parker Posey plays a medicated Southern matriarch herding her family through a vacation in Thailand, you might have caught that she stars in a new advertising campaign for Gap. The 90-second video begins with Posey checking herself out in a mirrored elevator cab before dancing across a wide-open interior space set above L.A.s sprawl. But a light bulb goes off for real architecture heads: This location is none other than the infamous (W)rapper building designed by Eric Owen Moss Architects, the arc-clad warrior that stands guard at the border of Culver City and Baldwin Hills.Posey, supported by a cast of dancers, bops along the storefront glass, which is inset from the steel tubes that crisscross on the outside of the facade. She wears a striped long-sleeve t-shirt, wide-leg jeans, and a khaki trench coat, like a grown-up version of her character fromParty Girl with hot-mom vibes. (Though it should be stated that inBest in Showshe was reading J.Crew when she met her husband, and they favored L.L.Bean catalogs.)The campaign, titled Feels Like Gap, was made by industry-leading female creatives like photographer Amy Troost, director Talia Collis, and choreographer Sadie Wilking, according to press materials.Posey dances freely and with personality on a table; she passes through a portal in the concrete structure and hits the choreography atop the muted green carpet. Outside on the plaza, the routine intensifies, and the ensemble cast, wearing the latest Gap wardrobe staples, takes over before Posey reappears, smiling, and spins it out for the finale. And, scene!(W)rapper is a 16-story, 180,500-square-foot office tower by Eric Own Moss Architects. (Tom Bonner Photography)Inside the (W)rapperAlong the way, the (W)rapper is a hulking but largely benign backdrop. In one shot, we see a mezzanine with exposed steel structure, white PVC plumbing runs, and a yellow wall. The interior has just enough stuff and abstract texture to integrate into the moves as a stand-in for urban terrainat one point dancers run up the angled wall and pause, supported by a partnerbut not too much building-ality that it steals the show. In his review of the (W)rapper for AN, Ryan Scavnicky was taken with its oddity and the cement plaster finisher, despite its overall chaos: Seen at a distance, the building is a disagreeable, clunky, loud, uncomfortable hot mess. Yet encountered up close, parts of it are captivating. I felt joy experiencing all of the strange nooks and crannies inside the building. Plus, you start to see details like the texture of the cement plaster, which was troweled by hand.In the ad the building is a largely benign backdrop. (Courtesy Gap)Oliver Wainwright, writing in The Guardian, was similarly direct. He called it a bombastic tombstone of a bygone era, a carbon-guzzling monument to a time when architectural ego trumped the interests of people and planet.In a supportive blurb in last falls Of the Moment, set below his own picture of the (W)rapper, Thom Mayne wrote that the building reminds us that we find pleasure in the unpredictable. In the moments that remind us of the richness and diversity of L.A., in the sheer joy of coming across a part of the city that objects to being yet another block in an endless sea of blocks. To those who say you cant or you shouldnt, this building says, I will. Maybe a morale boost is exactly what we need right now. Confidence is a feeling, a feeling that youre free to be your best self. When I got to work for the Gap on this shoot, it reminded me of my early days being carefree and comfortable in clothes, and dancing how we wanted, Posey offered. I was inspired to see the next generation keeping that spirit alive it was cool and optimistic. Beyond starring in the video, Posey also curated an in-store playlist for Gap.Channeling the PastThe video channels the late-90s energy of Gap ads where dancers clad in khakis and color-blocked t-shirts cut loose or pose in leather, plus the creativity of Spike Jonze in classic videos like Fatboy Slims Weapon of Choice or the more recent HomePod campaign for Apple that starred FKA twigs.The video channels the late-90s energy of Gap ads where dancers clad in khakis and color-blocked t-shirts cut loose. (Courtesy Gap)Modern dance and architecture share a long, intertwined history. Both practices define space and employ the same techniques: geometry, proportion, scale, repetition, ornament, color, and light, Eva Alt wrote in PIN-UP. Alongside training architects, Bauhaus adherents also created dances, with amazing costumes. (Even a contemporary recreation of Oskar Schlemmers Triadic Ballet goes hard.) Perhaps the best recent artistic fusion was the accompanying video for Solanges genius When I Get Home album. Regardless, Poseys prancing raises an uncomfortable observation: It looks like that double-height floor of the (W)rapper still isnt leased? I guess the thirst for column-free floor plates, which mimic those of creative office warehouses, isnt so great that anyone feels the need to slake it. If Gap wanted to do a series of videos on the empty floors of recently completed class A buildings meant to cater to evil genius start-up types, there is no end of possible locations to shoot within.As architects continue to struggle with how to relate to popular culture, a meme-like question about the disciplines irrelevance arises: What if architecture is just the stuff that you film dance videos in front of? Any extended debate of this rhetorical query would be enough to have the youth saying Sure, Grandma, lets get you to bed. Best to leave it alone and relax, which is the goal of the Gap campaign: to embrace the power of comfort. May we dance like no one is watching and design like everyone is looking.