Superadjacency is inclusive rather than exclusive. It can relate contrasting and otherwise irreconcilable elements;' it can contain opposites within a whole; it can accommodate the valid non sequitur; and it can allow a multiplicity of levels of meaning, since it involves changing contexts-seeing familiar things in an unfamiliar way and from unexpected points of view. Superadjacency can be
considered a variation of the idea of simultaneity expressed in Cubism and in certain orthodox Modern architecture, which employed transparency. But it is in contrast to the perpendicular interpenetration of space and form characteristic of the work of Wright. Superadjacency can result in a real richness as opposed to the surface richness of the screen which is typical of "serene" architecture. Its manifestations,
as we shall see, are as diverse as Bramante's layered walls in the Belvedere Court in the Vatican Palace (106) and Kahn's "ruins. . . wrapped around buildings" in his Salk Institute for Biological Studies ( 107).