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In McKim, Mead and White's Low House the blatantly exceptional window positions in the north facade contradicted the consistent symmetrical order of the outside shape to admit the circumstantial complexities of its domestic program.
Robert Venturi, Complexity and Contradiction in Architecture (1966), p. 55.

The very subtly distorted relationships of the windows in H. H. Richardson's house for Henry Adams in Washington reflected the particular circumstances of the private functions inside, yet they maintained the regularity and symmetry demanded by the public function of a monumental building on Lafayette Square. Here the subtle compromise between order and circumstance, outside and inside, and private and public functions, produced ambiguous rhythms and vibrant tensions in the facade.
Robert Venturi, Complexity and Contradiction in Architecture (1966), p. 55.

The varied openings in the Palazzo Tarugi, exceptional in form and position, break the dominant pilaster order of the outside in typical Italian fashion
Robert Venturi, Complexity and Contradiction in Architecture (1966), p. 56.

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