Equally the attempts by various ‘Minimalists’ to install Kahn in their pedigree risk distorting him and reducing his apparent ‘simplicity’ to a recipe of geometry and materiality. More recently there has been the slogan of the ‘tectonic’ as a supposed answer to a world filled with arbitrary images, but here again Kahn slips through the rhetoric. Kahn’s architecture is full of inversions: masses which suddenly seem weightless, materials which dissolve into immateriality; structures which reverse load and support; rays of light which reveal the realm of shadows; solids which turn out to be voids.