A Short History of British Architecture: From Stonehenge to the Shard
by Simon Jenkins · 7 Nov 2024 · 364pp · 94,801 words
Venetian gondola and other eccentricities, from both Johnson and others such as Charles Moore and Michael Graves. Leading the age of the postmodern starchitect was Frank Gehry and his Bilbao Guggenheim (1997), which appeared to stimulate the economic revival of an entire city. Like the Pompidou Centre and Sydney’s Opera House
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luxury flats, at times obliterating views of the power station itself. The overdevelopment was supposedly mitigated by using starchitects for the residences, with facades by Frank Gehry and Norman Foster. Thoroughfares were named after Malaysian cities in the hope of attracting overseas money. London’s mayor Boris Johnson even travelled to Kuala
Mysteries of the Mall: And Other Essays
by Witold Rybczynski · 7 Sep 2015 · 342pp · 90,734 words
that we find ourselves in places that are truly incomprehensible. This is not just because buildings fall into recognizable types (a concert hall designed by Frank Gehry is still a concert hall; the relationship between performers and audience follows a well-understood convention) but also because television and movies have brought us
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mirrored by the intricacy of the windows: there were half a dozen different shapes and sizes. The modest house was hardly in a league with Frank Gehry or Peter Eisenman, but it was busy. I realized that I had to say something more substantive, but I wasn’t sure where to start
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. Michael Eisner is an architecture buff, and in the past he has commissioned world-famous architects to design buildings for Disney: Arata Isozaki, Michael Graves, Frank Gehry, Aldo Rossi. Celebration, too, has a cast of celebrated architects. Graves designed the post office, Philip Johnson the town hall, Robert Venturi and Denise Scott
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—to a large extent pioneered by Le Corbusier himself—of the white shoe-box International Style. After Ronchamp, modern architecture was never quite the same. Frank Gehry’s Bilbao Guggenheim is equally iconoclastic. With its ballooning shapes and titanium swirls, its colliding forms and unusual spaces, it has been described as biomorphic
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forty-story Guggenheim on the East River in Lower Manhattan—yet more titanium swirls.1 While a Guggenheim museum in New York City designed by Frank Gehry would likely attract millions of visitors, will people really flock to New Orleans to see the Grammy Hall of Fame, a project that has recently
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are generally anointed by the public, sometimes a long time after they are built. So why do developers think that they can create instant icons? Frank Gehry and the Bilbao Guggenheim, that’s why. The Guggenheim Museum in Bilbao, an industrial city in northern Spain, opened in 1997. Using innovative computer technology
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to draw buyers: people will come. Despite the success of the Bilbao Guggenheim, the Bilbao effect has not proved easy to replicate, not even for Frank Gehry. His Experience Music Project for Paul Allen, the Microsoft billionaire, was supposed to put Seattle on the architectural map. Despite its unusual architecture, consisting of
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a gaudy Hindu palace, not one of his normally sedate classical designs. Is it Disneyfication when the Disney Company hires critically acclaimed architects such as Frank Gehry, Arata Isozaki, and Aldo Rossi to design its office buildings? Apparently not, because these are three designers whom the author admires. The final chapter of
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landmarks, not only the Vanna Venturi House, but also Charles Moore’s weekend cottage in Orinda, California. Then there’s Richard Meier’s Smith House, Frank Gehry’s own house in Santa Monica, and Peter Eisenman’s House VI. There have been so many significant houses that it would be easy to
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were two shows on Ludwig Mies van der Rohe, one at the Whitney, the other at the Museum of Modern Art, as well as a Frank Gehry exhibit at the Guggenheim Museum. In addition, the Philadelphia Museum of Art held a major retrospective of the work of Robert Venturi and Denise Scott
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that ducks—or rather titanium artichokes, in the case of the Guggenheim Museum in Bilbao—not decorated sheds, were what clients and the public wanted. Frank Gehry is, of course, the architect du jour. The Guggenheim in Bilbao is not only at the cutting edge of architectural design but also a hit
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Mediterranean. Nor is Americanness an issue in the work of what passes for the avant-garde today. Not only is the outlook of architects like Frank Gehry and Peter Eisenman international, like their practices, but if deconstructivism has any roots—other, that is, than in the Euro-American world of high fashion
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and would give credibility to the whole project.” There are not many contemporary American architects who bring that sort of cachet. Philip Johnson, perhaps, or Frank Gehry. But Johnson, despite his celebrity, has never received a commission for a national civic monument; neither (yet) has Gehry. Pei, on the other hand, had
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caps fit in just fine. * * * Safdie designed an unusual museum for Alice Walton. It is not an idiosyncratic sculpture, like the Experience Music Project that Frank Gehry built in Seattle for the Microsoft billionaire Paul Allen, nor is it like the coolly sophisticated “machine for looking at art in” that Renzo Piano
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firsthand. The Smart Man from Hollywood In 1986, the Walker Art Center in Minneapolis organized an exhibition of the “major works” of the American architect Frank Gehry. Although Gehry was fifty-seven, only a few large projects were exhibited—a branch library, a law school, an aerospace museum—and my chief recollection
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seem to bother Gehry. “Being accepted isn’t everything” was the nose-thumbing epigram he provided for the Walker exhibition catalog. That was then. Today, Frank Gehry is definitely accepted. More, he is acclaimed, feted, lionized. In 1989, he was awarded the Pritzker Prize, the Nobel of the architectural world. He has
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in lieu of more mainstream practitioners, awarded Gehry its top accolade, the AIA Gold Medal. Prizes are one thing, but there is no doubt that Frank Gehry is the most important twentieth-century architect since Louis I. Kahn. Like Kahn, he was a late bloomer. Kahn was fifty years old when, after
The Edifice Complex: How the Rich and Powerful--And Their Architects--Shape the World
by Deyan Sudjic · 27 Nov 2006 · 441pp · 135,176 words
, in theory, as astonishing a tableau as if George W. Bush had decided to tour Baghdad in the company of Jeff Koons, Philip Johnson and Frank Gehry. The dictator is demonstrating his priorities and making his intentions manifestly clear: Hitler, the great architect, is ready to redesign the world. And yet, somehow
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that he designed at the foot of the Seagram Tower. It is inconceivable that any other architect would have had the same treatment, not even Frank Gehry, who, with Brad Pitt in and out of his office, is certainly no stranger to stardom. The Vanity Fair photograph is a tribute not so
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much to the significance of Johnson’s contribution to the history of architecture as a reminder of his importance to the cult of fame. Frank Gehry sits on one side of Johnson, alongside Peter Eisenman. Arata Isozaki has flown in from Tokyo, Rem Koolhaas from Rotterdam and Zaha Hadid from London
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an option for such a symbolically charged project, and by all accounts none of the other American recipients – Robert Venturi, Philip Johnson, Richard Meier, even Frank Gehry – managed to hit it off with Clinton. What, the president was in the habit of asking, do you think of that museum in Balboa? And
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that he might be just the architect for the job. Disney’s Michael Eisner – who had transformed the Mouse Kingdom with buildings by Michael Graves, Frank Gehry, Robert Stern, Antoine Predock and Arata Isozaki – offered some names. But in the end it was the Clinton’s decorator who suggested that they talk
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without a tower invisible. All you see are the very tops of things. Bits of shopping centres, inspired at considerable distance by Daniel Libeskind and Frank Gehry, bob up and down in the aimless flotsam of multiplexes and malls that come swimming into view as you head south. Then there is a
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Rome. Los Angeles’ new cathedral, a replacement for the earthquake-damaged nineteenth-century structure of St Vibiana, overlooks the freeways, just across the street from Frank Gehry’s Disney Concert Hall, but it feels as if it has all the weight and authority and wealth of a 2,000-year-old organization
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of the second millennium with Richard Meier’s Dio Padre Misericordioso jubilee church in suburban Rome, after an international competition in which other architects, including Frank Gehry and Peter Eisenman, were also asked to compete, or in the monks of Novy Dvur in the Czech Republic, who commissioned John Pawson to build
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as a spiritual content. 12 The Uses of Culture The Guggenheim in New York sold 320,000 tickets for its exhibition celebrating the architecture of Frank Gehry, more than for any other show in its fifty-year history. It called it a retrospective but the reality, stretching all the way up the
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are in a time now when the architect kind of rules,’ he said at the time on TV. ‘I draw better in my sculpture than Frank Gehry draws in his architecture. Frank is parading right now, and so are all those mouthpiece critics that, you know, support him as an artist. Hogwash
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change business paradigms and create new markets that will shape the New Economy. It is this shared sense of challenge that we admire most in Frank Gehry. We hope it will bring you as much inspiration as it has brought us.’ Skilling, along with several of his executives, eventually faced his own
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with fourteen. Gehry tactfully suggests that the Lewis project allowed him to explore the themes that have shaped his work ever since. People who commission Frank Gehry to design houses for them are a group unlike any other. Among their characteristics, self-doubt is conspicuous by its absence. The client for the
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Guggenheim yet another $12 million to clear its outstanding debts, but tried to make it clear that the price was no more fancy architecture: ‘If Frank Gehry designs a public-service building’, as Lewis was by now calling the proposed new museum, ‘that gets built in downtown New York, I am willing
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when Lewis lost a bid to discipline Krens, and resigned as chairman in 2005. Unlike Lewis, Eli Broad has actually built a house designed by Frank Gehry. It’s on a 3-acre hillside site in Bel Air. Like Lewis, Broad has a taste for conspicuous art. In place of the 75
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, it’s not hard to guess the kind of thing that they had in mind: the opera house with the titanium fish scales designed by Frank Gehry as a free-form blob, or a gratuitously eccentric footbridge by Santiago Calatrava. Competitions such as this have become ubiquitous, leading all but inevitably to
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highly personal and completely uncalculated response. He had put everything into the project, suspending the scepticism that many architects felt about the flawed competition process. Frank Gehry won few friends by refusing to take part, suggesting that the $40,000 fee for participants was demeaning. ‘I know people say that the competition
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what might be called the practitioners of high architecture. Le Corbusier and Mies van der Rohe, or Rem Koolhaas or Renzo Piano, Wallace Harrison or Frank Gehry, are not free agents. Their work depends on their engagement with the political context of the world. And in that world the totalitarians and the
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of the World Trade Center Site, London, 2005 Farah Pahlavi: An Enduring Love: My Life with the Shah, New York, 2004 J. Fiona Ragheb (ed.): Frank Gehry, Architect, New York, 2001 Jane Ridley: The Architect and His Wife: A life of Edwin Lutyens, London, 2002 Peter G. Rowe: Seng Kuan: Architectural Encounters
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, 175, 178, 180–81 Dierksmeier, Theodor 42, 124 Diller, Liz 310–11 Doctrine 76 Domenig, Günter 48 domestic architecture 137 country houses 211–14 by Frank Gehry 277, 280–81, 286–7 Drexler, Arthur 244 Dubai 308 Dustmann, Hans 44 East of England Development Agency 295 East Germany (DDR) see Germany, East
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Gruen, Victor 149, 276 Guggenheim, Solomon 281 Guggenheim Museum, Bilbao 285, 288–9 Frank for 274, 275, 277–8 Guggenheim Museum, New York 274–5 Frank Gehry exhibition 274, 275, 278–81, 288–9 Thomas Krens as director of 274–5, 281, 284–6, 290 website 274–5 Gwathmey, Charles 249 Hacha
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Lefrak family 284 Léger, Fernand 186 Lehman family 290 Lenin, Vladimir Ilyich 50, 61 his tomb 54 Lewis, Peter Benjamin 281, 284, 285–7, 288 Frank Gehry and 281–4 Libera, Adalberto 73, 146 Libeskind, Daniel 5, 181–2, 315–16 his World Trade Center rebuilding designs 313–17; criticism of 314
How Big Things Get Done: The Surprising Factors Behind Every Successful Project, From Home Renovations to Space Exploration
by Bent Flyvbjerg and Dan Gardner · 16 Feb 2023 · 353pp · 97,029 words
way you think. 3. Think from Right to Left Start with the most basic question of all: Why? 4. Pixar Planning Plan like Pixar and Frank Gehry do. 5. Are You Experienced? Experience is often misunderstood and marginalized. 6. So You Think Your Project Is Unique? Think again. Your project is “one
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was time to get into detailed planning. The failure to ask questions about the goal of the project was the root cause of its failure. Frank Gehry, arguably the world’s most acclaimed architect, never starts with answers. “I grew up with the Talmud,” he told me when I interviewed him in
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whole conversation starts with a simple question: “Why are you doing this project?” Few projects start this way. All should. THE BOX ON THE RIGHT Frank Gehry’s most celebrated building—the one that elevated him from the ranks of rising stars to the pinnacle of the architecture world—is the Guggenheim
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, almost 4 million people visited the once obscure corner of Spain, injecting a little less than $1 billion (in 2021 dollars) into the region.5 Frank Gehry’s imagination, genius, and ego were certainly involved in the creation of the Guggenheim Bilbao. But the building was fundamentally shaped by the project’s
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to disrupt the psychology-driven dash to a premature conclusion by disentangling means and ends and thinking carefully about what exactly we want to accomplish. Frank Gehry’s question, “Why are you doing this project?,” does that. Picture politicians who want to connect an island to the mainland. How much would a
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itself but as a means to an end: The goal is the box on the right. That’s where project planning must begin by asking Frank Gehry’s question and thoughtfully exploring what should go in that box. Once that is settled, you can shift to considering what should go into the
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coffee and talking about the kitchen renovation. How should that conversation go in order to give the project a sound foundation? It should start with Frank Gehry’s question: Why are you doing this project? They would probably start with the obvious, something like “It would be nice to spend more time
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tinkering. Wise planners make the most of this basic insight into human nature. They try, learn, and do it again. They plan like Pixar and Frank Gehry do. This is a tale of two masterpieces. The first stands on a rocky outcrop of Sydney Harbor on the Australian coast. The Sydney Opera
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Jørn Utzon, a relative unknown when he won the global competition to conceive it. The Guggenheim Bilbao was also the product of genius. Designed by Frank Gehry, it is arguably the greatest work of an architect so original that the only category he can be placed in is his own. But there
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and more, giving the project very select company in the only 0.5 percent of big projects that deliver on all promises. That success vaulted Frank Gehry to the top tier of the world’s architects, leading to many more commissions and a vast and distinguished body of work all over the
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to design a concert hall for Springfield. Gehry crumples the letter and throws it onto the ground, but then gasps when he sees its shape. “Frank Gehry, you’re a genius!” he shouts. Cut to Gehry presenting a model of Springfield’s new concert hall, which looks remarkably like the Guggenheim Bilbao
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joke, but people took it seriously. “It has haunted me,” he explained to a TV interviewer. “People who’ve seen The Simpsons believe it.”17 Frank Gehry is indeed a genius, but everything else about that image of how he works is wrong. In fact, it’s the opposite of the truth
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at full scale, with careful, demanding, extensive testing producing a plan that increases the odds of the delivery going smoothly and swiftly. It’s what Frank Gehry did for the Guggenheim Bilbao and has done for all his projects since. It’s what Pixar does to make each of its landmark movies
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. MAXIMUM VIRTUAL PRODUCT When a minimum viable product approach isn’t possible, try a “maximum virtual product”—a hyperrealistic, exquisitely detailed model like those that Frank Gehry made for the Guggenheim Bilbao and all his buildings since and those that Pixar makes for each of its feature films before shooting. However, the
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and the Guggenheim Museum Bilbao: Jørn Utzon (born 1918) was thirty-eight years old when he won the competition to construct his visionary building while Frank Gehry (born 1929) was sixty-two when he won his. In another context, that age discrepancy would be trivial. In this case, it’s paramount. Age
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need to look at the “unfrozen” kind—the lived experience of people. That’s because experience is what elevates the best project leaders—people like Frank Gehry and Pete Docter—above the rest. And in both planning and delivery, there is no better asset for a big project than an experienced leader
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to so much more. Polanyi actually developed the concept of tacit knowledge in an exploration of how scientists do science. Highly experienced project leaders like Frank Gehry and Pete Docter overflow with tacit knowledge about the many facets of the big projects they oversee. It improves their judgment profoundly. Often, they will
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pressing their own interests and agendas. Lacking relevant experience in navigating this environment, he was a babe in the woods. And the wolves got him. Frank Gehry’s climb up the ladder of experience, in contrast, gave him an escalating education in the politics of big projects. His toughest lessons came in
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we have to be deep into the delivery of a project, with our backs against the wall, to summon up that creativity. Just look at Frank Gehry. He is a wildly creative architect, but contrary to the ridiculous popular image of how he works—perfectly captured by that episode of The Simpsons
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worth every penny of the many dollars spent to hire them. Examine any successful project, and you’re likely to find a team like that. Frank Gehry’s many successes—on time, on budget, with the vision the client wants—have depended not only on Gehry but also on the superb people
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improvements in the benefits delivered by giant projects, and the gains would be in the range of the GDP of Sweden. Each year. But as Frank Gehry and the Madrid Metro leadership have demonstrated, a 5 percent improvement is nothing. Cutting cost by 30 percent—which is still modest and entirely possible
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my group at Oxford, for which I cannot thank them enough. It greatly facilitated intellectual exchange, and you will see their influence throughout the book. Frank Gehry and Ed Catmull are main practical influences. When Gehry built the Guggenheim Museum Bilbao on time and on budget I knew I had to pick
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conclusions can thus be a helping hand in keeping an open mind. 3: THINK FROM RIGHT TO LEFT 1. Author interview with Frank Gehry, March 5, 2021. 2. Academy of Achievement, “Frank Gehry, Academy Class of 1995, Full Interview,” YouTube, July 19, 2017, https://www.youtube.com/watch?v=wTElCmNkkKc. 3. Paul Goldberger, Building
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Art: The Life and Work of Frank Gehry (New York: Alfred A. Knopf, 2015), 290–94. 4. Ibid., 290. 5. Ibid., 303. The success in Bilbao was so significant that it gave rise
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), 23. 3. Matt Tyrnauer, “Architecture in the Age of Gehry,” Vanity Fair, June 30, 2010. 4. Paul Goldberger, Building Art: The Life and Work of Frank Gehry (New York: Alfred A. Knopf, 2015), 299; Bent Flyvbjerg, “Design by Deception: The Politics of Megaproject Approval,” Harvard Design Magazine, no. 22 (Spring–Summer 2005
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. 8. Flyvbjerg, “Design by Deception.” 9. At the time, engineers concluded that Utzon’s original design of the shells could not be built. Decades later, Frank Gehry’s team showed that it could in fact have been built if Gehry’s CATIA 3D design model had been available to Utzon and his
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French company Dassault Systèmes. It is used in a range of industries, including aerospace and defense. It was adapted to architecture on the initiative of Frank Gehry and his practice. Gehry later renamed his adaption “Digital Project.” 14. For a photo of the Vitra Design Museum with the spiral staircase at the
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back of the building, see https://bit.ly/3n7hrAH. 15. “Looking Back at Frank Gehry’s Building-Bending Feats,” PBS NewsHour, September 11, 2015, https://www.pbs.org/newshour/show/frank-gehry; author interview with Craig Webb, April 23, 2021. 16. “The Seven-Beer Snitch,” The Simpsons, April 3
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, 2005. 17. Goldberger, Building Art, 377–78. 18. Personal communication with Frank Gehry, author’s archives. 19. Architectural Videos, “Frank Gehry Uses CATIA for His Architecture Visions,” YouTube, November 2, 2011, https://www.youtube.com/watch?v=UEn53Wr6380. 20. Author interview with Pete
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, MA: MIT Press, 1999). 24. It should be emphasized that the cost and schedule overruns on the Walt Disney Concert Hall were not due to Frank Gehry’s lack of planning, although he was often blamed. Gehry was forced off the Disney Concert Hall project after the design development phase, when the
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Stephen Rountree, president of Music Center, Los Angeles, and owner of the Disney Concert Hall. See Paul Goldberger, Building Art: The Life and Work of Frank Gehry (New York: Alfred A. Knopf, 2015), 322; Stephen D. Rountree, “Letter to the Editor, Jan Tuchman, Engineering News Record,” Music Center, Los Angeles, April 1
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, 2010. The Walt Disney Concert Hall has a special place in Frank Gehry’s career as his near nemesis and as the project that taught him how to protect his designs from being undermined by politics and business
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[in Los Angeles] because I’m the local guy,” he later explained in an interview, “so they started a barrage coming at me” (quoted in Frank Gehry, Gehry Talks: Architecture + Process, ed. Mildred Friedman [London: Thames & Hudson, 2003], 114). Almost ten years after the fact, Gehry still called that period the “darkest
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times” of his life and said, “I have a lot of wounds from the process”; see Frank O. Gehry, “Introduction,” in Symphony: Frank Gehry’s Walt Disney Concert Hall, ed. Gloria Gerace (New York: Harry N. Abrams, 2003), 15. The nadir came in 1997, when after nine years of
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final drawings. The Disney family’s spokesperson, Lillian and Walt Disney’s daughter Diane Disney Miller, issued a statement saying, “We promised Los Angeles a Frank Gehry building, and that’s what we intend to deliver”; see Richard Koshalek and Dana Hutt, “The Impossible Becomes Possible: The Making of Walt Disney Concert
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, and Natalie Kitroeff. 2021. “Construction Flaws Led to Mexico City Metro Collapse, Independent Inquiry Shows.” The New York Times, June 16. Academy of Achievement. 2017. “Frank Gehry, Academy Class of 1995, Full Interview.” YouTube, July 18. https://www.youtube.com/watch?v=wTElCmNkkKc. Adelman, Jeremy. 2013. Worldly Philosopher: The Odyssey of Albert
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, and Nikolaos Mavridis. 2016. “Why E-Government Projects Fail? An Analysis of the healthcare.gov Website.” Government Information Quarterly 33 (1): 161–73. Architectural Videos. “Frank Gehry Uses CATIA for His Architecture Visions.” YouTube, November 1, 2011. https://www.youtube.com/watch?v=UEn53Wr6380. Aristotle. 1976. The Nicomachean Ethics. Translated by J
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-well-invent-the-future/. Gehry, Frank O. 2003. Gehry Talks: Architecture + Process, ed. Mildred Friedmann. London: Thames & Hudson. Gehry, Frank O. 2003. “Introduction.” In Symphony: Frank Gehry’s Walt Disney Concert Hall, ed. Gloria Gerace. New York: Harry N. Abrams. Gellert, Paul, and Barbara Lynch. 2003. “Mega-Projects as Displacements.” International Social
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Theory and Research, eds. Jerry Suls and T. A. Wills. Hillsdale, NJ: Erlbaum, 149–76. Goldberger, Paul. 2015. Building Art: The Life and Work of Frank Gehry. New York: Alfred A. Knopf. Goldblatt, David. 2016. The Games: A Global History of the Olympics. London: Macmillan. Golder, Peter N., and Gerard J. Tellis
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and Security Review Commission, US Congress. Koshalek, Richard, and Dana Hutt. 2003. “The Impossible Becomes Possible: The Making of Walt Disney Concert Hall.” In Symphony: Frank Gehry’s Walt Disney Concert Hall, ed. Gloria Gerace. New York: Harry N. Abrams. Krapivsky, Paul, and Dmitri Krioukov. 2008. “Scale-Free Networks as Preasymptotic Regimes
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Project Management Failure.” Journal of Performance of Constructed Facilities 27 (3): 362–69. PBS. 2015. “Looking Back at Frank Gehry’s Building-Bending Feats.” PBS NewsHour, September 15. https://www.pbs.org/newshour/show/frank-gehry. Perrow, Charles. 1999. Normal Accidents: Living with High-Risk Technologies, updated ed. Princeton, NJ: Princeton University Press. Phys
Framers: Human Advantage in an Age of Technology and Turmoil
by Kenneth Cukier, Viktor Mayer-Schönberger and Francis de Véricourt · 10 May 2021 · 291pp · 80,068 words
a registered trademark. As in the cases of Dr. Seuss and Martha Graham, boundaries need not be confining but serve as an opportunity. The architect Frank Gehry believes that the very secret to his creative successes is the limitations he must work through. “As an artist, I got constraints. Gravity is one
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,” MarthaGraham.org, accessed November 10, 2020, https://marthagraham.org/history. Frank Gehry on gravity: “Frank Gehry Teaches Design and Architecture,” MasterClass, video course, accessed November 4, 2020, https://www.masterclass.com/classes/frank-gehry-teaches-design-and-architecture. Gehry on building without constraints: “What It Takes—Frank Gehry,” American Academy of Achievement, April 6, 2018, https://learningenglish.voanews
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.com/a/what-it-takes-frank-gehry/4302218.html. On a French novel without the letter e: In 1969
Frommer's California 2007
by Harry Basch, Mark Hiss, Erika Lenkert and Matthew Richard Poole · 6 Dec 2006 · 769pp · 397,677 words
and power. See “San Simeon: Hearst Castle” in chapter 12. • Walt Disney Concert Hall (Los Angeles): You would have to fly to Spain to see Frank Gehry’s other architectural masterpiece, and this one is sufficiently awe-inspiring. And the dramatically curvaceous stainlesssteel exterior houses one of the most acoustically perfect concert
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ornaments are really stylish sushi platters hanging in wait for large orders. More functional art reveals itself in the comfortable corrugated cardboard chairs designed by Frank Gehry. Genial sushi wizards stand in wait, with cases of the finest fish before them. Salmon, yellowtail, shrimp, tuna, and scallops are among the always-fresh
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the best and, with an initial gift of $50 million to build a world-class performance venue, that’s what they got: a masterpiece by Frank Gehry, and an acoustical quality that equals or surpasses the best concert halls in the world. Similar to Gehry’s most famous architectural masterpiece, the Guggenheim
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the Concert Hall’s history from conception to creation. The 45-minute self-guided tour is narrated by actor John Lithgow and includes interviews with Frank Gehry, Los Angeles Philharmonic music director Esa-Pekka Salonen, and acoustician Yasuhisa Toyota. One caveat: You see everything but the auditorium: A rehearsal is almost always
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failing Pasadena Museum of Modern Art, the Norton Simon displays one of the finest private collections of European, American, and Asian art in the world (Frank Gehry redesigned the interior space). Comprehensive collections of masterpieces by Degas, Picasso, Rembrandt, and Goya are augmented by sculptures by Henry Moore and Auguste Rodin, including
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o’ the Pup to the mansions lining the streets of Beverly Hills—are perfectly at home here. The newest gem on the scene is the Frank Gehry–designed Walt Disney Concert Hall, at the intersection of First Street and Grand Avenue in the historic Bunker Hill area (see p. 526 for information
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incredible new home: the Walt Disney Concert Hall, at the intersection of 1st Street and Grand Avenue in the historic Bunker Hill area. Designed by Frank Gehry, this exciting addition to the Music Center of L.A. includes a breathtaking 2,265-seat concert hall, outdoor park, restaurant, cafe, bookstore, and gift
Frommer's Los Angeles 2010
by Matthew Richard Poole · 28 Sep 2009 · 356pp · 186,629 words
of $50 million to build a world-class per formance venue, that’s what they got: A masterpiece of design b y world-renowned architect Frank Gehry, and an acoustical quality that equals or surpasses those of the best concer t halls in the world. Similar to Gehry’s most famous architectural
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all’s histor y fr om conception to cr eation. The 45-minute selfguided tour is narrated by actor John Lithgow and includes interviews with Frank Gehry, Los Angeles P hilharmonic music dir ector Gustavo Dudamel, and acoustician Yasuhisa Toyota, among others. O ne big cav eat is that y ou see
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displays one of the finest private collections of European, American, and Asian art in the world (and yet another feather in the cap of architect Frank Gehry, who redesigned the interior space). Compr ehensive collections of masterpieces b y Degas, Picasso, Rembrandt, and G oya are augmented b y sculptures by Henry
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Hall (p. 164), located at the intersection of 1st S treet and Grand Avenue in the historic Bunker Hill area. Designed by world-renowned architect Frank Gehry, this exciting addition to the Music Center of L.A. includes a breathtaking 2,265-seat concert hall, outdoor park, restaurant, cafe, bookstore, and gift
Fodor's California 2014
by Fodor's · 5 Nov 2013 · 1,540pp · 400,759 words
–3100 | www.aquariumofpacific.org | $25.95 | Daily 9–6. Cabrillo Marine Aquarium. Dedicated to the marine life that flourishes off the Southern California coast, this Frank Gehry–designed center gives an intimate and instructive look at local sea creatures. Head to the Exploration Center and S. Mark Taper Foundation Courtyard for kid
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urban renewal followed. While certain sections can still be gritty, some of the city’s most talked about restaurants, bars, and cultural attractions, including the Frank Gehry–designed Walt Disney Concert Hall, reside Downtown. In 2014, the debut of the Broad Museum will complete the neighborhood’s transformation. While first-timers tend
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Maps Top Attractions Fodor’s Choice | Cathedral of Our Lady of the Angels. A half-block away from the giant rose-shaped steel grandeur of Frank Gehry’s curvaceous Disney Concert Hall sits Cathedral of Our Lady of the Angels. It is both a spiritual draw as well as an architectural attraction
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| www.olacathedral.org | Free, parking $4 every 15 min, $18 maximum | Weekdays 6–6, Sat. 9–6, Sun. 7–6. The Geffen Contemporary at MOCA. Frank Gehry transformed what was a 40,000-square-foot former police warehouse in Little Tokyo into this top-notch museum, originally built as a temporary exhibit
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., Downtown | 90015 | 213/972–7211, 213/972–4399 for tour information | www.musiccenter.org. Walt Disney Concert Hall. L.A.’s crown jewel, designed by Frank Gehry, opened in 2003 and instantly became a stunning icon of the city. The gorgeous stainless-steel-clad exterior soars upward, seeming to defy the laws
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.com | Reservations not accepted. Patina. FRENCH | Formed by chef Joachim Splichal, the Patina Group’s flagship restaurant has Downtown’s most striking address: inside the Frank Gehry–designed Walt Disney Concert Hall. The contemporary space, surrounded by a rippled “curtain” of rich walnut, is an elegant, dramatic stage for the acclaimed restaurant
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Music Director Gustavo Dudamel, an international celebrity conductor in his own right. The theater, a sculptural monument of gleaming, curved steel designed by master architect Frank Gehry, is part of a complex that includes a public park, gardens, and shops as well as two outdoor amphitheaters for children’s and preconcert events
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building will sustain pedestrian activity. This issue was the subject of a now famous exchange that took place at the 2009 Aspen Ideas Festival between Frank Gehry and a prominent audience member, Fred Kent. Kent, who runs the Project for Public Spaces, pointedly asked Gehry why so many “iconic” buildings by star
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-colored columns on the right resembles a deconstructed forest. d Map A5 • 340 Main St, Venice • Not open to public Disney Concert Hall & Walt This Frank Gehry-designed downtown extravaganza is easily recognized by its shiny and dynamically curved exterior. It is the home of the Los Angeles Philharmonic Orchestra, and seats
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chains and specialty stores (see p87). Center @ Beverly Upscale retail assortment within a fortress-like façade. d Map L5 • 310-854-0070 Monica Place £ Santa Frank Gehry-designed mall with great food courts. d Map A4 • 310-394-5451 Galleria $ Glendale Dedicated mall-crawlers Los Angeles Top 10 Grove at Farmers ! The
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. d Map D2 • 2700 N Vermont Canyon • 323-665-1927 • www.greektheatrela.com N Grand Ave, Downtown • 213-972-7211 £ Walt Disney Concert Hall This Frank Gehry creation, the newest part of the Music Center, features cleverly designed seating which makes listening to the LA Philharmonic Orchestra, playing beneath the sail-like
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home of the Los Angeles Philharmonic Orchestra (directed by Esa Pekka Salonen since 1991) is a spectacular addition to downtown’s physical and cultural landscape. Frank Gehry conceived the dramatic design of this 2,265-seat auditorium, rather like the sculptural interpretation of a ship caught at sea. The exterior “sails” are
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and Southeast Asia. Old Masters such as Rembrandt and Goya and the Impressionists, especially Degas, as well as Renoir, Cézanne, and Monet are well represented. Frank Gehry’s recent remodel improved the lighting conditions of the exhibit space. Sculptures, including Rodin’s The Thinker, dot the gardens, inspired by Monet’s at
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hostel. Architecture * Beach Unique private homes line the Boardwalk between Venice and Washington Boulevards. Look for the one by Steven Ehrlich at No. 2311 and Frank Gehry’s Norton House. Maroni’s Sausage ( Jody Kingdom The simple sausage goes gourmet at this locally popular but unassuming take-out stand. d 2011 Ocean
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1FES P#BZ NJMFT LN Marine Aquarium O’ Call Village ! Cabrillo £ Ports Housed in a modern building This is a mock New England designed by Frank Gehry, this aquarium (see p51) offers plenty to do apart from viewing marine life in its 34 saltwater tanks. Memorable experiences include observing newborn jellyfish in
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