On October 23rd, the Walt Disney concert hall, the project that almost never was, will celebrate its ten-year anniversary. Throughout these ten years it has had all manner of transformative power attributed to it. But has it really transformed LA? What would the city have been like if it had never been built? Would it be fundamentally different?
The answer? No.The city wouldn’t even be that different in the immediate vicinity of Grand Avenue.
The Los Angeles Times’ Christopher Hawthorne may have hoped for (and indeed hinted at the possibility) of Frank Gehry’s return to the Grand Avenue Project, the long-awaited plan to develop the stretch of land east of the Walt Disney Concert Hall, but now the speculation has finally become fact. Speaking last week at a panel discussion meant to commemorate the 10th anniversary of the Disney Hall, Gehry finally put the rumors to rest.
More details, after the break.
In a recent article for the Financial Times, Edwin Heathcote explores the ‘Skyscraper Index’, an informal term that suggests a correlation between the construction of a big company’s ambitious headquarters and subsequent financial crisis: “Think of the Empire State Building opening into the Wall Street crash of 1929, the Twin Towers being completed as New York City was flirting with bankruptcy or the Petronas Towers in Kuala Lumpur taking the mantle of the world’s tallest building and presaging the Asian financial crisis.” Heathcote goes on to describe the latest generation of headquarters being constructed for our current, tech-oriented goliaths – like Apple‘s monolithic “donut”, by Foster + Partners, and Facebook‘s Gehry-designed Menlo Park campus - and wonders: “if skyscrapers can tell us something about the temperature of an overheating economy, what do these groundscraping new HQs say?” Read the full article here.
It’s been called a “remarkable work of public architecture” that “engages [the city of] Los Angeles” like few others. With the 10 year anniversary of Frank Gehry‘s Walt Disney Concert Hall approaching, the LA Times, with some great, in-depth coverage, has been taking a look back at its architecture and what makes it such an important icon for both Gehry and LA. Oh, and don’t forget to check out its soon-to-be neighbor on Grand Avenue, the Broad Museum by Diller Scofidio + Renfro!
In this article, which originally appeared in Metropolis Magazine’s Point of View Blog as “Q&A: Edwin Chan,” Iman Ansari interviews Edwin Chan, a design partner at Frank Gehry architects for 25 years, about Gehry and the many significant cultural and institutional projects he worked on before starting his own practice, EC3.
Iman Ansari: When we look at the work of Frank Gehry or Thom Mayne, as LA architects, there is a certain symbolic relationship to the city evident in the work: the industrial character of these buildings and elements of the highway or automobile culture that tie the architecture to the larger urban infrastructure, the scale of the projects, as well as the conscious use of materials such as metal, glass or concrete. But as freestanding machine-like objects sitting at the heart of the city these buildings also embody certain ideals and values that are uniquely American, such as individualism, and freedom of expression. In your opinion how is Frank Gehry’s work tied to Los Angeles or the American culture?
Edwin Chan: Absolutely. I think Frank’s work definitely has DNA of LA as a city. We talk about the idea of a democratic city a lot, and coincidentally Hillary Clinton mentioned that in her speech recently saying: “We need a new architecture for this new world, more Frank Gehry than formal Greek,” because it’s the expression of democracy. In that sense you could think about the building embodying certain type of values that are manifested architecturally.
The Getty’s Pacific Standard Time Presents: Modern Architecture in L.A. hosted A. Quincy Jones: Building for Better Living at UCLA’s Hammer Museum and Contemporary Architecture from Southern California (formerly known as A New Sculpturalism) at MOCA Geffen for the better part of this summer. These two exhibits, on view until September 8 and 16 respectively, give us insight into Los Angeles’ past and present architectural legacies. They take on fundamentally different challenges. One uncovers a prolific and primary history of a modernist architect, the other attempts to capture and catalogue an unwieldy and unstable present.
Read on after the break for reviews of both exhibitions…
Frank Gehry’s revised design for the controversial Eisenhower Memorial has been approved by US Commission of Fine Arts in a 3-1 vote – a major step forward after the project’s funding was nearly scraped last year. Though Gehry’s redesign was welcomed by the commission, BDOnline reported that they’ve requested he removes the three woven metal tapestries that border the site, as they believe the scale “undermined Gehry’s attempt to convey the president’s humility.” Gehry accepted this request and now awaits re-authorization from Congress.
Frank Gehry recently sat down with Foreign Policy’s Benjamin Pauker for a candid interview covering everything from his distaste for Dubai (it’s “on steroids [...] like every cruddy city in the world”), his dislike for cold, minimalist architecture (“I need a place where I can come home and take my shoes off”); and, oddly enough, his approval of benevolent dictators – albeit with taste, of course. As Gehry put it: “It’s really hard to get consensus, to have a tastemaker. There is no Robert Moses anymore. Michael Bloomberg wants to be one. In fact, he promised he would build 10 more of my buildings in New York, but, you know, he hasn’t yet. Architecture’s difficult … [sigh].” Read the full interview here.
Shortly after winning approval on their Frank Gehry-designed, Menlo Park headquarters in California, Facebook has announced plans to once again commission the Los Angeles-based starchitect to design a new office for their New York City team. By early 2014, Gehry is expected to refurbish an existing 100,000 square-foot, two-story office space – nearly twice the size of their current home at 335 Madison Ave – on 770 Broadway.
Fourth project of the Living Architectures series, Gehry’s Vertigo offers to the spectator a rare and vertiginous trip on the top roofs of the Guggenheim Museum of Bilbao. Through the portrait of the climbing team in charge of the glass cleaning, their ascensions, their techniques and difficulties, this film observes the complexity and virtuosity of Frank Gehry’s architecture.
Architect Frank Gehry has voiced concerns that the new Los Angeles subway, scheduled for construction in two to three years, may disturb concerts in his famous Disney Hall. The planned subway line would run 125 feet below the venue’s parking garage and recent simulations have shown that the rumblings could be audible inside the concert hall. Gehry has called for the review of previous noise projections for the metro project, which two years ago predicted no audible impact on his design. “It would be a disaster for Disney Hall,” Gehry told the LA Times. “The flag is up and we should go over it and make sure.”
Read more after the break.
There are many ways that the architecture profession has lead the way in environmentally friendly design – but when it comes to the process of creating buildings themselves, the industry works its way through huge amounts of paper. Frank Gehry, through his offshoot technology company Gehry Technologies, is aiming to change that.
The company has recently announced that its GTeam software, which has so far been available for less than a year, will now make use of Box, a cloud based storage system that is well suited to large files associated with complex 3D models that are often required in designing buildings.
Read more about Gehry Technology’s new software collaboration after the break
A new smartphone isn’t the only Facebook news making headlines, as the social media giant has received the green light from the Menlo Park City Council to move forward with their headquarter’s expansion on the outskirts of San Francisco Bay, California. The approved plans are a slightly toned down version of architect Frank Gehry’s original proposal, as the flamboyant butterfly-like wings which flared from each end of the 433,555-square-foot building have been removed.
“They felt some of those things were too flashy and not in keeping with the kind of the culture of Facebook, so they asked us to make it more anonymous,” stated Craig Webb, Gehry’s creative partner. “Frank (Gehry) was quite willing to tone down some of the expression of architecture in the building.”
After a 4-0 vote secured approval, Mayor Peter Ohtaki asked: “Where’s the ‘Like’ button?”
More after the break…
In an age where almost every conceivable subject has spawned its own reality series – be it Dancing On Ice or Hillbilly-Hand-Fishing - PBS’s new show, Cool Spaces!, aims to stimulate the public’s curiosity by engaging us in the story behind some of North America’s most interesting public buildings. The AIA sponsored show, which is hosted by Boston-based architect Stephen Chung, departs from usual architecture-related television shows, which tend to focus on makeovers of private homes. Not only will this show look at public buildings, but it will also examine the people whose lives it has affected, the places that have shaped it, and the mind of the architect who brought all of these things together to design it.
Read more about the series and see a sneak preview after the break…
On view now until April 13, is the Stamberg Aferiat + Associates designed exhibition for Frank Gehry prints and a sculpture for the Los Angeles-based artists’ workshop Gemini G.E.L. at Joni Moisant Weyl in New York City. The exhibition celebrates architecture, a more than ten-year collaboration with the renowned architect, and their one-year anniversary in a designed space by architects Peter Stamberg and Paul Aferiat. The exhibit features a newly editioned sculpture and an enlarging of Gehry’s Marques de Riscal Winery image. More images and description of the exhibition after the break.