| the ends of imagination...

Ambivalence and architecture
By Nicolai Ouroussoff The New York Times

NEW YORK It's been 17 years now since a broadly influential show of
Frank Gehry's early work landed at the Whitney Museum of American Art.
With his array of cheap foam core models held together with pins and
glue, Gehry captured the ethos of a culture that seemed to be tearing
apart at the seams. In the process, he seemed to release decades' worth
of sublimated emotions.

But for young architects like me, seeking fresh ideas, what was most
striking about the show was its ability to challenge some of our most
firmly held beliefs about architecture. Crudely patched together,
Gehry's models suggested a landscape of unmined possibilities.
Ultimately, they helped to reawaken a profession that had hit a creative
dead end.