In the winter of light

"There are architecture photographers [who] refuse to photograph anything from November up to February," Michiel van Raaij writes on his blog Eikongraphia. "In their view the long shadows and dimmed light intensity of the winter season compromises their work. The effect is that – in the architecture media – not only the sun always shines, but that it is also never winter."
There are several interesting observations here, but I'm particularly struck by the thought that the spherical trigonometry of the earth's surface – and its angular effect on shadows – has an impact on how we might popularly view and represent architectural space.
By extension, then, if raised only on images of buildings in which there are no visible shadows – and in which surfaces thus appear to be all but shaved of ornament – are architects actually designing for a particular season of light? That is, buildings that are meant to look good, and photograph well, only in summer?
How amazing it would be to find that architectural styles begin to change – moving away from the Clement Greenberg-like flatness of international modernism toward a new era of ornamentally active deep surfaces – if something as simple as when photographs are taken were to change.
All the works of Frank Gehry, photographed in the anemic, angular light of midwinter. I sense a book idea here, if any enterprising photographers might be reading this...