Aspen Ideas Fest 2009: Frank Gehry, as interviewed by Thomas Pritzker

It was clear that Frank Gehry is self-aware from the introductory biographic notes that Pritzker read: “Frank Gehry has been the subject of a Simpsons episode…” was how it began. Gehry is often dismissed as the worst offender among “starchitects” seeking iconic memorials to their own talents, ala Howard Roark. And maybe it’s that his advanced age has offered him some more perspective (Gehry is 80), but this interview made it clear that his well-known style was mostly accidental. Here are my observations from watching the session:

1. He came from very humble beginnings.

Gehry was driving a truck  at age 19 or 20, and taking some college classes as night. In one pottery class, he became friendly with the instructor, who invited Gehry to visit his home while it was under construction. Gehry was taken with the design and construction process he observed, so the professor recommended an architecture course, which the professor then paid for when Gehry couldn’t afford it.

2. Disney’s lawyers treated him pretty badly.

When Gehry was announced as being on the short list for the Disney Concert Hall, the family’s attorneys called a meeting with him too provide him with a list of things that he couldn’t do in the project. The meeting ended with the lead attorney declaring that he “would never let them put the Disney family name on something he designed.” (In the end, Gehry chose brass railings throughout the widely-acclaimed project because they had been on the attorney’s early list of forbidden things.)

3. He was mostly pre-occupied with the interior acoustic functions in designing Disney Concert Hall.

Full article via Parrot blog

The Unbuilding of Frank Gehry

Has New York lost its great chance with an architectural legend? Gehry speaks.

By Justin Davidson
Published Jun 21, 2009

Frank Gehry’s New York looks so vivid in miniature, a parallel city of masterpieces in plastic, cardboard, and painted foam. Let’s start our fantasy tour at the vantage point of Brooklyn Heights. That’s the Guggenheim’s downtown branch across the East River, on the Manhattan side, rearing out of the spume, whipping together water, sky, and steel. Sheets of swirling metal enfold galleries that seem to levitate over the piers, which form a public esplanade. In winter, you can tour the outdoor sculptures on ice skates. “Commerce surrounds her with her surf,” wrote Herman Melville of Manhattan, and the new building stirs the old excitement of a maritime New York, a city at the nation’s edge. Gehry’s money-bright museum stands at the confluence of capital, art, and tide.

Full article via New York Magazine