The Dutch architect Aldo van Eyck once asked Tonny: "How do you work and how do you work together with people from such a different world?" It was hard to know how to answer that question. How do you work if what you value most of all are modesty, simplicity and naturalness? How do you explain that you work on the -negative- form, the empty field, the -female- form of architecture?

When she was visiting his workshop one day, the Dutch architect Piet Blom showed Tonny his favourite picture. It depicted a series of columns in a Moorish mosque: la Mezquita de Córdoba. To Tonny this Mezquita stands for -male- and -positive- architecture. By contrast the picture Tonny had carried with her on all her travels was a small aerial photograph from an early KLM leaflet. It showed a beach in Holland on which Dutch families had dug their own circular holes as a protection against the wind: a typical example of -female- architecture.

Instead of stating how one should build something entirely new, Tonny would like to indicate which elements in architecture should be preserved, in order for it no to be estranged from its archetypes, its primeval -female- forms. In this last chapter Tonny will take you through five projects in Oaxaca for which she served as a consultant. Each offered a specific possibility to achieve harmony, the essence of what she likes to call -female- architecture.