Some recent tweeting by Paul Goldberger revealed that the Vanity Fair contributing editor had set sail off the coast of L.A. with architects/ seamen Frank Gehry and Greg Lynn. Broadcasting from FOGGY, Gehry’s Beneteau First 44.7 fiberglass sailboat, Goldberger sent out a rakish pic of Gehry at the wheel. (The name “FOGGY,” in case you couldn’t guess, it based on F.O.G., the maestro’s initials; the “O” stands for “Owen”). We hope to hear more about the voyage in an upcoming VF article and that the story involves pirates and lost treasure.
Posts tagged with "Frank Gehry":
ARZU STUDIO HOPE and live/work furniture company Coalesse have teamed up with six leading architects to design a series of bold rugs and also provide economic opportunities for Afghan women. Chicago-based ARZU first approached Stanley Tigerman and Margaret McCurry to design a collection of contemporary rugs, the proceeds of which support hundreds of rural women and their families through economic activity, and educational and health services. Rug weaving, which takes place in private homes, is one of the few industries where women can work safely. Tigerman and McCurry were so taken with ARZU's mission that they agreed to recruit high profile friends to contribute designs, including Frank Gehry, Zaha Hadid, Michael Graves, and Robert A.M. Stern. The resulting Masters Collection ranges to from historically inspired designs that evoke both Louis Sullivan and Islamic art to contemporary, abstract works. The hand-knotted rugs are available to order now.
AN found out today that Frank Gehry's Aerospace Hall at the California Science Center (now known as the Air and Space Gallery) in Los Angeles has now been listed on the California Register by the California Office of Historic Preservation. As we've reported, the museum's fate has been in doubt as the Science Center makes plans for a new building to house the Space Shuttle Endeavor, and refuses to comment on what it plans to do with Gehry's building, which was shuttered last year. The listing doesn't guarantee the building's protection, but it could slow down any threats. It may trigger an environmental review if another building were to replace it. At the very least, the museum would need to review the impact of a demolition or major change. The angular, metal-clad building, built in 1984, was Gehry's first major public building.
How many Americans know that the Eisenhower Memorial will be the largest presidential memorial in Washington, D.C.? Or that it will be using untested, experimental elements for the first time? Or that it will cost nearly as much to build as the neighboring memorials to Washington, Lincoln, and Jefferson combined? These basic facts are still not widely known because the current design has emerged from a planning process that limited rather than encouraged public participation. It has also led directly to a controversy that has stalled the project in regulatory and political limbo and left its supporters and critics without common ground. We need public input to find the consensus that this and every memorial needs. At least one federal agency is already working toward that outcome. Recently the National Capital Planning Commission (NCPC), which reviews all major physical changes to the District of Columbia, called for more public feedback before it will decide whether to approve the current design. In September, it refused to hear the Eisenhower Memorial Commission’s (unannounced) request for preliminary design approval and published its application online. This was the first full public disclosure regarding the Eisenhower Memorial, and it reveals practical as well as principled reasons for the NCPC’s delay. These include unresolved technical questions about the design’s main feature, a set of suspended steel “tapestries” eight stories tall, and a record of official doubts about their size and placement. The Commission of Fine Arts has even suggested eliminating them altogether. The current design is neither as feasible nor as popular as the Eisenhower Memorial Commission has represented it to be. It won’t be cheap, either. The cost of the Eisenhower Memorial is $142 million, a huge increase over its original budget of $55 to $75 million, which was comparable to those of previous presidential memorials. The skyrocketing cost follows a familiar pattern with architect Frank Gehry, the memorial’s designer. The final cost of many of his buildings exceeds their original budgets, sometimes several times over. Typically, asthese buildings are private, wealthy donors and institutions pick up the additional cost. But the Eisenhower Memorial is public, which means we, the taxpayers,will be paying for it. Do we realize we are being asked to commit an open-ended budget to an experimental design? Public debate has been forestalled as well as squelched. The Eisenhower Memorial Commission rejected established practice to choose its architect through a process that excluded public participation. It considered only registered architects to design the memorial, whom it alerted on one government website. The Commission evaluated these architects on the basis of their reputations and experience, criteria that whittled away all but established contenders. The drawbacks of this closed process, moreover, are well known. The only other time it was tried, for the World War II Memorial, it had to be abandoned after a public outcry over its exclusive and undemocratic character. The Eisenhower Memorial Commission’s decision to revive this discredited process was so unusual that it is the subject of a Congressional investigation by House Oversight and Government Reform Committee Chairman Darrell Issa. A public memorial conceived in this closed and secretive fashion is unlikely to become a unifying national symbol. We should return to the established democratic tradition rejected by the Eisenhower Memorial Commission. Our national memorials are typically designed through open public competitions, which consider anonymous designs from anyone who wants to submit one. This process echoes and reinforces our democratic political process, which helps explain why we keep using it, from the White House and the U.S. Capitol to four of the last five memorials built on the National Mall and all three of the national September 11th memorials. The current impasse over this memorial shows what happens in a democratic culture of competing ideas when consensus is hoped for at the end rather than planned for from the beginning. No one debates, however, that such consensus is necessary, and we should find paths to it wherever we can. The NCPC has now provided one. The public has the opportunity and the responsibility to make its opinion known. Sam Roche is a writer and a lecturer at the University of Miami School of Architecture. He is the spokesman for Right by Ike: Project for a New Eisenhower Memorial.
Frank Gehry should be plenty busy with ambitious plans to revitalize downtown Toronto and to expand Facebook’s offices on the boards. Now, Gehry has been commissioned by the National YoungArts Foundation (NYAF) to update one of Miami’s most elegant and historically significant urban spaces: The Bacardi Complex on Biscayne Boulevard. Purchased below market for $10 million by the NYAF—a nonprofit arts organization that helps aspiring high school artists—Gehry will convert the former 3.5 acre corporate campus into a new arts complex. “By acquiring the Bacardi campus we are able to honor and preserve an important part of Miami’s cultural history,” Paul T. Lehr, executive director of YoungArts, said in a statement. Known for his curvaceous object-buildings, Gehry has already addressed obvious concerns from local community members and historic preservationists. “It’s not going to be a building that’s architecturally published in any way,” he told The New York Times, suggesting that his renovations won't include his typical flourishes on the campus' exterior. “But it’s a place I want to go.” A jewel of Miami Modernism (MiMo), the complex houses the beautifully-proportioned, 8-story Bacardi Headquarters Building (1963), a structure that elegantly fuses European, Latin American, and Caribbean Modern influences. Arguably one of Cuban architect Enrique Gutierrez’s best projects (designed in collaboration with Mies van der Rohe), Bacardi quickly became a symbol of hope and nostalgia to Miami’s newly immigrated Cuban community, a burst of intense formal beauty on an otherwise banal Miami streetscape. Its solid north-south facades showcase tropical murals designed by Brazilian artist Francisco Brennand, who used 28,000 6" by 6" hand-painted blue and white ceramic tiles to produce a warm, exotic contrast to the cool, gridded glass facade floating above the street. Behind the tower, a smaller, 2-story annex building nicknamed “The Jewel Box on a Pedestal” (1975) hovers 47-feet above the street. Designed by local Coral Gables architect Ignacio Carrera-Justiz , the Jewel Box also fuses architecture, culture, and art. Its exuberant one-inch thick glass mosaic walls, produced by French stained glass artists Gabriel and Jacques Loire, were designed by German artist Johannes Dietz to reference the rich and complex rum-making process. Miami's Preservation Board designated the complex, including its buildings, “historic” in October 2009, prohibiting demolition and protecting its heritage from insensitive alterations. Gehry, who has long been friends with NYAF's founders, will make interior alterations to accommodate new educational programs, design a new public park, and build a new performing arts center to replace an existing—non-landmarked—office building. “I have been a mentor to some of the YoungArts students and know what a tremendous impact this organization has on them,” Gehry said in a statement. “It’s a privilege to help make a new home for YoungArts, so it can do even more for these wonderful young people.”
Frank Gehry has won every architecture award you can think of, from the Pritzker to the AIA Gold Medal. Now he has one named after him, thanks to his $100,000 donation to SCI-Arc. The Gehry Prize will be awarded annually to the school's best graduate thesis. The first prize will be handed out this Sunday at SCI-Arc's graduation. Gehry has been a SCI-Arc trustee since 1990, and has been involved with the school since its inception in 1972. Which reminds us: SCI-Arc will be 40 next year.
Perhaps trying to regain its mojo after a difficult summer on the stock market, Facebook has selected Frank Gehry to design an expansion to its Menlo Park Campus in California. The project, scheduled to break ground next year, will include a quirky 420,000-square-foot warehouse topped by a sprawling garden. The cavernous space will contain open offices for as many as 2,800 software engineers, according to Everett Katigbak, Facebook's environmental design manager. The firm wouldn't reveal the project's price tag. Facebook is relatively new to Menlo Park, having moved from Palo Alto last year into a Gensler-designed retrofit of Sun Microsystems' old campus. The Gehry building will be located just across the street. Other tech giants will be located nearby as well: Foster and Partners' new ring-shaped offices for Apple are about 25 minutes away in Cupertino. And Google's "Googleplex" is located about 20 minutes away in Mountain View. Google has yet to name the architect for its latest expansion after firing Ingenhoven Architects earlier this year. Looks like we've got an architectural arms race in Silicon Valley. You've been poked, Google. [ Via LA Times.]
Make It Right, Brad Pitt's development of contemporary, LEED Platinum homes in New Orleans' Lower Ninth Ward—an area devastated by Hurricane Katrina and still far from recovered—has a new addition: Frank Gehry. Gehry's new duplex on the site was completed this week. The surprisingly simple design (especially considering some of the expressive homes in the development) features a waterproof solar canopy, a roof terrace and six covered porches. Still one could argue that Gehry's stilt-raised design, with its fiber cement siding (that looks like local clapboard siding), metal roofs and focus on outdoor space, is one of the most contextual of the bunch.
Forget for a moment that President Obama bumped the New York Times’ Jill Abramson from the dais to deliver this year’s commencement address at Barnard and not his alma mater, Columbia College. Tonight, the Times’ architecture critic Michael Kimmelman will be delivering a lecture at Barnard's Diana Center, titled Public Space and Public Consciousness. However, a busy Kimmelman also appeared last night at GSAPP, for a conversation with Columbia Professor Gwendolyn Wright. Kimmelman addressed growing criticism of his focus on the city as a whole as opposed to addressing architecture as buildings, by reminding the audience that he’s only been at the gig for four months and still had plenty to address. He said he had hoped to create a more porous and fluid forum for debate about the city and architecture, through blogs and reader commentary—but that the resources to edit and filter comments at the newspaper are thin, and there was a concern that the blog could be “taken over by crazy people.” He added that Ada Louise Huxtable remains the model for dealing with citywide and policy issues alongside architecture. “A false dichotomy has been set up; there’s this idea that writing about urban affairs and architecture are separate,” he said. “They’re part of the same world.” He acknowledged the criticism. “When is he going to write about…” he parroted an oft-asked question. “...architecture,” Wright finished—before concurring that the same problem exists in academia where a distinct line is drawn between social history and architectural history. Unsurprising for a former European corespondent, he invoked Rome and suggested that rather than looking at Zaha Hadid’s MAXXI as a sculptural object, he could address its Bilbao-esque intentions. MAXXI may have been positioned as a game changer for an underdeveloped Roman neighborhood, but infrastructural changes needed to be in place to make any real difference. The same thing goes, he contended, at the High Line, whose success now has James Corner getting calls from far flung cities to order up their own High Line that will transform the neighborhood. Kimmelman said such high-profile works of architecture and landscape design are but capstones to what was essentially a very long haul addressing infrastructural and government processes that have little to do with architecture. “It creates the illusion that architecture alone can make a change,” he said said of Gehry's Bilbao. “There was lots of structural and social engineering that preceded the building.” After the event, he spent almost an hour talking with students about sites and projects in New York. Public Space and Public Consciousness will be delivered at 6PM tonight at the Event Oval in the Diana Center.
In an effort to consolidate its efforts in Los Angeles, Google has leased 100,000 square feet of office space in three buildings in Venice, including space inside Frank Gehry's Chiat/Day Building, a.k.a. the Binoculars Building. Why is it called that? Because one entryway is shaped like a gigantic pair of binoculars, of course. Finished in 1991 on Main Street, the space is probably the most famous of Gehry's forays into...shiver... Post Modernism. The binoculars themselves were designed by Claes Oldenburg and Coosje van Bruggen. The new Venice Googleplex will hold many more employees than its present collection of buildings in Santa Monica, which contain about 300. Earlier this week Google announced that it would be adding 6,000 total employees this year. Recession? What recession? Not in Google's world.
After years in the spotlight it appears that University of Southern California (USC) uber-alum Frank Gehry has decided it's time to give back. The school announced today that Gehry has been named the school's Judge Widney Professor of Architecture. He's also taught at Columbia and Yale, but this is his first time teaching at his Alma Mater. It's not clear yet what classes he's going to lead. Gehry, 81, graduated from USC (B.Arch) back in 1954. He's arguably the school's most famous alumnus, but there is good competition, including architects Thom Mayne and Gregory Ain, astronaut Neil Armstrong, filmmaker George Lucas, and, of course, O.J. Simpson.
Nothing much to report from yesterday, as it was a day of formal openings when very little was in fact open to the press or public. It was mostly a day of introductory speeches by biennale directors and city and government officials. Frank Gehry presented some models, made a few brief remarks, and then everyone headed for the hallway, where we had our first free prosecco and great little appetizers. Journalists and media types stood around asking about where the best parties were to be had in the coming days (more on this later). Today—after two days of too many speeches and press conferences—the biennale finally opened the doors of both the Arsenale and the national pavilions in the giardini, and everyone had their first chance to officially see if people really do meet in architecture. I ran through the projects installed in the Arsenale and in the afternoon the Italian pavilion in the giardini, which is of course not the Italian pavilion but simply a large exhibition space. The gigantic Arsenale has only 15 installations this year, giving each vast amounts of space in which to confront visitors. Most are therefore huge installations and are really engaged in design pyrotechnics more than displays of building models. They are architecture, but in what is fast becoming a kind of biennale style, halfway between design and art. These include a 3-D film by Wim Wenders of SANAA’s Rolex Center and a smoke-filled cloud room with a long spiral ramp that is a pale replica of Diller and Scofidio’s Blur Building from 2002. Another space titled Architecture as Air: Study for Chateau La Coste by the architect Junya Ishigami is constructed from a field of thin monofilament pieces precisely arrayed across the space like a barely visible Fred Sandback string sculpture. Ishigami’s piece is indecipherable and most visitors simply pass through, but I was told by some young workers that it was meant to be a self-supporting line house until a cat ran through last night and it came crashing down. Can this be true? Anyway, it’s a good story. Like what happened yesterday to Aaron Betsky, who curated the biennale in 2008. He was turned back at the door because he did not have the right credentials. When he protested that he had been the curator two years ago, an official replied: “So what are you doing at the biennale this year?” In the afternoon, I saw the Italian pavilion, which Italian curator Luca Molinari has filled with a more diverse body of work than displayed in the Arsenale, ranging from installation projects to artworks and models. It’s hard in a quick blog post to summarize the work in this enormous pavilion without flattening out the diversity here or reverting to clichés. It deserves more thought and attention and individual consideration and that’s what I will try and do in an upcoming post. But if there is a theme in the Italian pavilion, it is that more than a few critique or try to update the notion of utopia either in its early idealization—or the more recent consideration of it as not a model worth considering. There is Tom Sachs' installation of slightly torn paper Corbusian prototypes on the one side, and Aldo Cibic’s wonderful small-scale utopian landscape of idealized building types, from high-design, high-density housing to bland suburban cul de sacs. In between these are all sorts of architectural thoughts, but none more thoughtful than Rem Koolhaas and a history of his Office for Metropolitan Architecture, a tribute to his winning this year’s Golden Lion. I did have a chance to check out the British pavilion and see its wonderful muf-designed wooden "medical school" theater and miniature Venetian estuary complete with crabs and snails. Both show the advantage of having designers of muf’s ability curating an exhibition. Finally, the Ryue Nishizawa-curated Japanese pavilion is also rethinking utopia, in this case a celebration of the 50th anniversary of the Metabolist movement. It brings back the movement but argues in fact that the city is organic and, as Aaron Levy claims, “beyond politics.” Now for the important stuff: The best party so far was the Audi Urban Futures event at the fabulous and long-vacant Misericordia space, which a Venetian friend used as a basketball court when she was a child. The highlight of the party was the announcement that the Future Award (worth 100,000 euros) was won by Jurgen Mayer H., an architect of great design talent who is now beginning to emerge as an international force. With the biennale finally underway, I’m beginning to wonder if Sejima is right, and people meet in architecture, or, as Italian critic Luigi Prestinenza Pugliese says, does this show prove that “architects don’t really like people?”