The films remind us that a building is for the people and places surrounding it what the critic Ian Nairn called relationship as much as for its maker or client. In recent years, that fact has changed the profession from both sides of the political aisle.Writing for The New York Times, Walker Mimms critiques the myth of the lone visionary architect, popularized by Ayn Rands The Fountainhead and embodied in Howard Roark, a character inspired by Frank Lloyd Wright. "Open any architecture magazine, and instead of hero worship youre likely to findadaptive reuse, sustainability, accessibility and vernacular styles invoked with the zeal Rand once reserved for height and newness," Mimms notes.Moving to the present day, Mimms dwells on two recent films, The Brutalist and Megalopolis.WhereThe Brutalist highlights the power imbalance between architects and their wealthy clients, Mimms argues,Megalopolis envisions a futuristic city built from organic, adaptive materials."Given her faith in the solo triumph, you have to wonder what Rand would have thought of the fabricatedcritic quotesin the trailer for Megalopolis, or the generative A.I. used to improve Brody and Joness Hungarian dialogue," Mimms concludes. "Its almost as if the a...