Building and corporeal objects are precisely the product of the architect when they are constructed not through another's hands, but directly made by the architect. Though the term and by definition profession of architecture seems to indicate a distance from manual labor or the building trades, architects have, and continue to have a direct role in fabricating objects, furniture, decor, and entire structures. As far back as humans have been constructing shelters the person in charge of its specification and design was synonymous with its chief foreman. However, in the Renaissance, the profession of architecture slowly emerged as a high art, distinctly engaged with building only through the abstractive tools of drawings and models. Perhaps as a result of industrialization, or through the disillusionment with a disconnected profession, architects at the turn of the 20th century again reclaimed building as a distinctly native craft. Firstly, architects like Frank Loyd Wright in his Taliesin School emphasized the direct construction of shelters by architects as fundamental to their identity with structure and form. Secondly, while the academic tradition of students building their designs continues at many schools, there is an equally vigorous lineage of architects professionally building. Charles and Ray Eames notably bought and assembled the various off-the-shelf parts of their Pacific Palisades home. Thirdly, architects like Alvar Aalto and Eileen Gray experimented with fabricating glass dishware, metal teapots, and lighting fixtures, expanding the profession into product and interior decor design. Today, the emergence of self-building has both spawned a renewed interest in the architect-as-builder, but also the architect as producing the means for non-professionals to build. At a time when professional fees and responsibilities are at an all time low, building as a product of the architect is increasingly seen as a way to connect back to our roots and establish new specialities, markets, and horizons.