Of Le Corbusier’s famous “Five Points” for the creation of a modern architecture, perhaps the most suggestive of utopian possibility was the roof garden terrace. Whether serving as the largest communal space of the Unité d’Habitation in Marseilles or providing expansive vistas over an urban park at the Casa Curutchet in La Plata, roof gardens asserted modernism’s technological exuberance and commitment to new perspectives and liberating reforms in cities and landscapes. Ironically, perhaps, roof gardens were also the least novel of Le Corbusier’s modern elements. They have a deep and well-known antiquity stretching back, to cite two examples, to the Hanging Gardens of Babylon and the palace walks of King David in Jerusalem—spaces of imperial power, luxury, and sensuality. Roof gardens became a fixture of utopian visions from the Renaissance onwards; Filarete included them in Sforzinda, while Frank Lloyd Wright imagined filling a landscape with villas topped by gardens for both leisure and the landing of private aircraft. Roof gardens even flourished in reality during the 1800s and early 1900s, particularly in great cities like New York and London, where they were often discussed as ideal fusions of the urban and the rural. In these years, rooftop terraces had a dualistic existence as hedonistic   pleasure grounds atop hotels, department stores, and theaters for the rich, while also serving as women-led refuges of charity for the poor on model tenements and public libraries. The international reputation of these roof gardens, now largely forgotten, is attested to in the English-language name of a magnificent cabaret and restaurant that crowned the Cerro San Cristóbal in Santiago de Chile in the 1930s: “Roof Garden.”