Each major cultural shift in Western society—Renaissance, Baroque, Modernism—has had its register in a plurality of creative outlets: theater, music, dance, fine art, and architecture. The first four art forms find their counterparts in the “four pillars of hip-hop”: deejaying, emceeing, b-boying, and graffiti writing. Architecture is lost. Hip-hop would not exist if not for architecture, urbanism, and city planning. So why does hip-hop architecture not exist? If it does, who are its practitioners? If it is yet to exist, how will it come to be? And, if we do eventually reconcile hip-hop’s recondite relationship with architecture, how will communities, spaces, and lives transform?