ABSTRACT
There is a double-edged relationship between fame and familiarity. The better known the architect, the more familiar his (or her) reputation; the more predictable the buildings (and their image) the more identifiable they are, but conversely the less noticeable they become, as all too familiar. In this sense consistency becomes a virtue, but also a limitation, and too familiar a repetition breeds contempt in a culture where the notion of the avant-garde has become an acceptable commodity.
