For example, there's a fantastic picture of a house shot from poolside in Palm Springs: a man in a bathing suit holds a towel wrapped around his neck with both hands while speaking to a woman who's reclined in a chaise longue and shading the sunlight off her face with her raised hand (on the other side of the frame is the architect himself, Richard Neutra, seated and reading some papers). The couple's relaxed pose balances out the aggressive industrial shapes of the house, and also embodies the idyll of postwar American life. Julius, even at 96 years of age today, is incredibly observant of the behavior of people, and he intuitively understood, much like a film director, how to get people into "character," as well as how their poses would play out within the context of the larger "scene." (Just by way of contrast, consider an artist like Saenredam, the 17th-century Dutch painter of church interiors and perhaps the first purely architectural artist. He created beautifully complex spaces out of Reformation interiors, but the little genre figures that provide a sense of scale and populate the lower parts of the panels were actually painted in by another artist.) As someone who loves and photographs architecture all the time, I truly admire Julius' ability to place figures in his spaces: it's extremely difficult to do well, perhaps more difficult than anything else, especially in large format, and Julius is absolutely a model to study for anyone interested in this problem.