On the sunken floor of the gallery rested 16 large sandstone blocks in five rows: Void Field (all works, 1989). Each is rough-hewn, varies in shape and size, and has a smallish black hole in the top. The igneous, pinkish-red rocks were like furnaces drawing in the space around and above them and, indeed, the gallery seemed very hot. No other work yet has so completely taken over this place and made it so strange and unfamiliar. This sense of dislocation was compounded in the anteroom by a long, flattish piece of ridged slate transformed into a human-size wing and painted a luminous blue. The

Although Pop art found architectural parallels and echoes in the work of the Archigram group and of Robert Venturi, the example of Andy Warhol would seem an elusive model for architectural practice. “Warholism,” one might say, is an attitude of mind rather than a method of design, a gaze at the environment rather than an intervention in it. Nevertheless, a gaze forms attitudes, and attitudes become form. In general, it might be said that too many architects are quick on the draw and blind to what is simply there. Hanna Vowles and Glynn Banks are architectural artists; they are architects who