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This chapter and its diagrams/images will elaborate on the expanded human networks that form around transnational building projects in Latin America, the Middle East, and Asia. The work that architects perform on these projects is situated within legal and customary relationships between architects, clients, technical consultants, and contractors. These networks of professionals and patrons are considered to be the primary actors that “make architecture happen.” However, it is increasingly evident that to produce architecture, other actors also participate in the process in various ways. Recent local and international activism around issues of migrant construction labor abuse on the construction sites of signature architectural projects in places like Abu Dhabi have exposed the problems of working globally. With the globalization of the architectural profession, architects can no longer not account for the actors that participate in and are impacted by the processes of building architecture. Three case studies will create a comprehensive imprint of a global project whose human networks stretch around the world. Its scope will consider which actors are typically excluded from such documentation and how their inclusion might transform our understanding of architectural work.

Now, 2002. Three years after \"American Beauty\" and Columbine. Imagine further: The Formica House is turned inside-out. Its color- coded interior surfaces are peeled outward, pulled outside and around the off-white, exterior Formica shell. The whole thing is lifted off the ground and the garage, now the only means of entry, is thrust below. The rooms now face outward. Their plastic surfaces have dissolved into translucent gray screens. All that remains of the color coding, now scrambled, is a narrow band: a thin, continuous lighting fixture running along the walls. The exterior walls (formerly on the interior), rise up around the entire volume and are converted into one-way mirrored glass. It's like the outside of an office building. Except that the glass, too, is turned inside-out. Looking outside from within, all you see is your own reflection. As in the original house, it is possible for others to see into the rooms - not from the hallway anymore, but from the street.