Many will wonder why these firms, if they are so concerned with their images as benevolent world-shapers (in Mayne’s words) and stewards of the environment, would even take on a project as obscene as The Line. The answer, of course, is money and fame. Indeed, the participation of the likes of Morphosis and Adjaye Associates makes a lot more sense if one dispels the notion of the architect as an artist or artisan, devoted to crafting lovely little things at a critical remove from society. Thom Mayne, David Adjaye, and all the others are not individual great men and women of the arts. They are at their core bosses: capitalists running firms employing the thousands of often well-meaning people lured into the field by architecture schools and the promise that they, too, could one day have their name on a building, only to instead be subjugated to ten hour days of drudgery and the other myriad indignities of wage labor. And so it goes.