document.writeln("<table><tr><!-- Design Story INTRO --><td align=left valign=top width=25%><a href=http://www.ArchitectureWeek.com/2003/0108/design_1-1.html><img src=http://www.ArchitectureWeek.com/2003/0108/images/12028_image_1.150.jpg width=150 height=150 border=0 alt='ArchWeek Image'></a></td><td align=left valign=top width=75%><p style='text-align: left'><a href=http://www.ArchitectureWeek.com/2003/0108/design_1-1.html><font size=+0 face=Helvetica,Arial color=#000000>POSTCARD FROM NEW YORK</font></a></p><p style='text-align: left'>Dear ArchitectureWeek,</p><p style='text-align: left'>John Hejduk's work is mystical. That aspect of his architecture became stronger toward the end of his career along with his projects' narrative power. (<a href='http://www.GreatBuildings.com/architects/John_Hejduk.html'>Hejduk</a>, the dean of the architecture program at Cooper Union for more than two decades, <a href='/cgi-bin/wlk?http://www.architectureweek.com/2000/0719/news_1-1.html'>died in 2000</a>.) The exhibit, 'Sanctuaries: The Last Works of John Hejduk,' recently at the <a href='/cgi-bin/wlk?http://www.whitney.org'>Whitney Museum of American Art</a> in New York, was a compact show that explored the mystical side of his work.</p><p style='text-align: right'><a href=http://www.ArchitectureWeek.com/2003/0108/design_1-1.html><img src=http://www.ArchitectureWeek.com/images/continue.gif width=96 height=22 border=0 alt=Continue...></a></p></td></tr></table>");
