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Gehry, Frank

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2011.12.07 12:24
Frank Gehry
[Y]ou are correct, I do not mean "pliability/pliancy only in literal surface-curving manner," but more of a "yielding readily" (like the varying aspects of the plan of the Wagner House which is on a sloped site). Perhaps it is uncannily (or even appropriately) ironic that the Venturi and Rauch peeling wall detail yeilds from an actual bending wall.
I (re)read about 75% of Lynn's essay last night, and there one sees "the pliant" more in the sense of literal bending and folding, plus also more in concert with suppleness and smoothness--although here too Gehry's architecture is most often used as example. (I feel my reading last night suffered a bit due to no illustrations accompaning this latest version of the essay.)
[T]he pliancy of the Palace of Ottopia is more a demonstration of the drawing pliancy that "laissez-faire" CAD manipulation allows. Yes, the Danteum is there, but so is Hejduk's Bye House, a bit of Perruzzi's Palazzo Massimo and a little bit of myself. (There are several animations of how the design came together which I'll again upload.) Also, the gemmating Danteum plans allude to Eisenman (Aronoff). Interestingly, within the studies for the Palace of Ottopia, there are some (pliant CAD) manipulations of Gehry's Wagner House--

--which eventally became House for Otto 4.

2012.01.29 20:08
25 Year AIA Award - and state of the Profession Part 2..?
Has the Gehry Residence made its neighborhood unsuccessful? I was there for maybe like 10 minutes sometime September 1982, so I really couldn't say whether the house made the neighborhood unsuccessful. Anyone who knows Santa Monica better, can you tell us whether the Gehry Residence has made the neighborhood unsuccessful.


2013.01.06 14:00
5 January   mp6602f


2013.01.21 16:48
DEconstructivism and Baroque..
"Each subsequent development involved the re-working of the elements of the architectural language introduced in the establishing movement."
What exactly is meant by "the establishing movement"?
Are you suggesting that Gehry is a re-working of Tschumi, Tschumi is a re-working of Graves, and Graves is a re-working of Mies?


2013.01.23 14:43
DEconstructivism and Baroque..
So you're suggesting the Rennaissance established Modernism, Mannerism established Post-Modern Classicism, the Baroque established De-constructivism, and Rococo established Expressionism?
So you're suggesting Mies re-worked the Rennaissance and thus Modernism came to be, Graves re-worked Mannerism and Post-Moden Classicism came to be, Tschumi re-worked the Baroque and De-constructivism came to be, and Gehry re-worked Rococo and Expressionism came to be?


FRANK GEHRY AT WORK on View in New York City
2013.05.16 11:32

Remember Eisenman's September 2002 proposal for new towers adjacent Ground Zero?

I don't have any books on Gehry post 1999, so I still have to investigate what Gehry was doing circa 2002. Actually, there is a more recent book I can get from the Free Library. I have a feeling that Eisenman was ahead of Gehry with regard to the whole crumbling/falling-down look/form.
Will history come to acknowledge the events of 9-11 as having a significant effect on early 21st century architectural form?

FRANK GEHRY AT WORK on View in New York City
2013.05.16 21:19
I used the word crumble (with a 'b'), and you used the word crumple (with a 'p'), and they are not the same thing. Yes, the crumple (ie, scrunch together) has been a part of Gehry's design vocabulary since the late nineties, but the crumble (ie, erode, fall apart) is much more recent in Gehry's work. It might well be significant that Eisenman's 2002 design is a combination of crumple and crumble.


2013.07.22 15:59
National Art Museum of China Entry by Gehry Partners
touchstone 2 : a test or criterion for determining the quality or genuineness of a thing


I fail to see how Schinkel's Altes Museum determines the quality or genuineness of Gehry Partner's National Art Museum of China. For a more realistic test of the genuineness of the museum's exterior, look at OMA's Beijing Book Building, 2003.



We see the application of "Gehry wavyiness" and an inversion of the individual apurtures into the frames themselves. From what is discernable here of the museum's interior plans, however, there is no real relationship to the Altes Museum nor to the Beijing Books Building.

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