John Randolph and Bruce Tomb’s collaborative architectural installations point toward the eradication of the traditional separation of “fine” art and functional, workmanlike aspects of architecture and design. In Randolph and Tomb’s most recent installation, entitled Prima Facie, 1991, art and life met in an elaborately engineered, gallery-sized device. If houses are the metaphorical equivalents for bodies, then stepping into this installation was like entering a brain. Seen from the gallery door, the structure suggested an immense wooden camera; like a set of stereoscopic lenses, two identical