Recently, Frank Gehry has again questioned the identity of the architectural object. He simplified the more chaotic forms in favor of a return to unified, singular buildings. The Üstra Office Building (1995–2001), a parallelepiped with a slight twist, was the first to reopen this inquiry, which he further explored with New York’s 8 Spruce Street (Beekman Tower) (2003–11). Paris’s Fondation Louis Vuitton (2005–14) comprises billowing glass sails that cover and unify the interior galleries, while instilling the building with a palpable sense of movement, as if it were a sailboat about to embark at any moment. These urban projects not only reimagine traditional structures—the skyscraper and the Beaux-Arts museum, for example—but also reveal the fragile relationships and tensions between a building and its environment.