已故的罗伯特•文丘里(Robert Venturi)和妻子丹尼斯•斯科特•布朗(Denise Scott Brown)在他们1972年出版的开创性著作《向拉斯维加斯学习》(learn from Las Vegas)中坚持认为，所有的建筑只能归为以下两种类型之一:“鸭子”或“装饰小屋”。简单地说，鸭子是明确表现其功能的建筑，装饰工棚是只有通过应用标识或装饰才能显示其功能的建筑。这句迷人的格言背后的逻辑仍广受争议，但它为初生的后现代主义运动的视觉逃避主义提供了美学上的许可。即使在今天，它也回避了一个不可回避的问题:一栋建筑能既“鸭子”又“装饰”吗?

Industrial architecture perhaps forms the ideal typological backdrop on which this theory can be road-tested. Factory buildings are unreservedly functional and utilitarian structures with zero decorative agenda.

A food processing plant is perhaps one of the purest examples of the type – a blank hermetically sealed shed inevitably languishing on a suburban or semi-rural industrial estate that shuns the outside world and is solely concerned with the endless churn of storage and preparation processes that takes place within.

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