\u201cArchitecture is a borrower,\u201d Eric Owen Moss said on Wednesday night, during a conversation with Frank Gehry at the Southern California Institute of Architecture (better known as SCI-Arc). \u201cIt gloms onto events and speculations in the arts and culture and science.\u201d<\/p>\n
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Moss raised a compelling point on the varied sources of architectural movements and nomenclatures. He cited the Bauhaus\u2019s adaptation of the Ford assembly line concept as an approach to constructing buildings, the physiological reference of Metabolism, and even how Deconstructivism, the widely accepted label for Gehry\u2019s brand of architecture, stemmed from a body of literary criticism.<\/p>\n
Gehry, of course, isn\u2019t one to adopt labels.<\/p>\n
\u201cI was thrown into it because my house was sort of a visual onomatopoeia of Decon,\u201d he said. \u201cNot according to me, but according to Mark Wiggly, who put me in a show\u2026 Personally, I\u2019m not into it. I don\u2019t follow it.\u201d<\/p>\n
\u201cYou know,\u201d said Moss, \u201cPhilip [Johnson] once said to me, \u2018I know whats Decon\u2019s about. It\u2019s the diagonal line.\u2019\u201d<\/p>\n
\u201cHe said that? I thought it was about copying fish.\u201d<\/p>\n
And that is how, over the course of 90 minutes, the conversation unfolded, meandering \u2014 like a Gehry fa\u00e7ade, perhaps \u2014 between serious theoretical explorations, mixed metaphors, fondly remembered anecdotes, and little jabs between two longtime friends and fellow fixtures of the Los Angeles architecture scene. The single point that managed to stay the course throughout the length of this haphazard route was that architecture is not a hermetic discipline. (The title of the talk, \u201cYou Can\u2019t Rehearse What You Haven\u2019t Invented Yet,\u201d is a quotation by jazz composer Wayne Shorter.)<\/p>\n
What\u2019s Gehry got to do with Lucien Freud, and how does architecture run parallel to and overlap art, music, or literature? He laid it all out, dispensing little bits of his multidisciplinary evolution. His own tangents and recollections shed light on what these seemingly disparate practices, at least implicitly, have to do with architecture. There\u2019s the well-known influence that Robert Rauschenberg\u2019s art played on the design of Gehry\u2019s groundbreaking Santa Monica residence, of course. There are also the structures he visualizes while listening to the Brandenberg Concerto, and the fact that the music of Pierre Boulez is the exception to his distaste in minimalism. There\u2019s even the time he mailed the complete works of James Joyce to Jay Z (perhaps that didn\u2019t change Gehry\u2019s practice too much, but it\u2019s a good story).<\/p>\n
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\u201cThere are no real rules that we understand for art and music, and probably for architecture,\u201d Gehry said towards the end, encouraging the audience of students to stay curious, and not to limit their ideas to any conceptual boxes.<\/p>\n
Too long; didn\u2019t watch? Below, the most uplifting and duly incendiary sound bites of the evening.<\/p>\n
On a signature style<\/b><\/p>\n
Eric Owen Moss: Lucien Freud once said, \u201cAll art is biographical.\u201d Is that you? Is Bilbao your built self?<\/p>\n
Frank Gehry: If you push that idea you can take that as an egomaniacal use of someone\u2019s money and resources to express yourself. You have a personal signature, and you are bringing it to bear on a problem. I think for me, it\u2019s exciting. The addition of the new place and the new client the new program excites me; I don\u2019t think I repeat myself because of that. When I teach, I ask my students to write their signature. Your signature is intuitive, direct, it\u2019s not contrived, and that\u2019s what we\u2019re looking for \u2014 that individual expression of the stuff we\u2019re made of. When you do that, you\u2019re the only expert in it, so it doesn\u2019t matter what anyone else says. You may not be discovered by the rest of the world, other people might not like it, but you\u2019re still in tact with your own person.<\/p>\n
EOM: Let\u2019s talk about broader accessibility to work\u2026 You\u2019re making something that no one has ever seen before, that has no story to be shared, no collective understanding.<\/p>\n
FG: I don\u2019t think about it that way. I suppose you\u2019re right. When Bilbao was being designed, in the press, everybody hated it\u2026 Now, if I need love, I just go to Bilbao for a few days.<\/p>\n
On being an artist<\/b><\/p>\n
FG: Richard Serra once said\u2026 \u201cFrank Gehry is not an artist.\u201d He said that on Charlie Rose, and he is a friend. There is that thing hanging in space about architecture as an art, and if you raise it to an art, can it be to the service of a big bad developer? I think that it can. But when anybody says to me Gehry, you\u2019re an artist, I say no, I\u2019m an architect. I would rather say that and do away with the discussion with that person.<\/p>\n
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On minimalism in architecture<\/b><\/p>\n
FG: There\u2019s a humanity in your concept, I hope\u2026 The minimalists don\u2019t like that, because you\u2019re supposed to be cold. Rich people feeling guilty like minimalist houses.<\/p>\n
[Here, a singular groan from the audience<\/i>.]<\/p>\n
On minimalism in music<\/b><\/p>\n
FG: By chance I watched [Pierre Boulez] conduct in New York. He was very minimal. Arms like this, instead of like this. And the passion was amazing.<\/p>\n
On ownership<\/b><\/p>\n
FG: I hate the idea of being marginalized by the construction industry, as architecture has been. I think the AIA inadvertently, by its overprotection, has infantilized us so we don\u2019t take responsibility. I see it in my own office. Yesterday we hired a new curtain wall consultant. I said why? Because it gives us protection. Bingo, that\u2019s exactly what I\u2019m trying to fight against. You gotta take more responsibility for your work.<\/p>\n
On James Joyce<\/b><\/p>\n
EOM: James Joyce\u2019s wife once asked him, \u201cWhy don\u2019t you write books more people can read?\u201d<\/p>\n
FG: Ah, James Joyce. I met this guy Jay Z years ago. I sat next to him at lunch, and I didn\u2019t know much about bippity boppity. I said to him, who was the first rapper? I didn\u2019t know what else to say. He gave me a few names that sounded like bippity boppity, and I said, \u201cWould you consider James Joyce?\u201d He said, \u201cWho dat?\u201d So I sent him a complete works of James Joyce. It sounds pure rap.<\/p>\n
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On technology<\/b><\/p>\n
FG: When I did the first Vitra building, I had trouble describing a compound curve with the tools I had from school, which was descriptive geometry. I was drawing this thing and making it all relevant, and they built it, and there was a kink. The contractor proved to me that he followed my drawings, so it was my fault that I didn\u2019t represent it properly. It wasn\u2019t my fault. It was both of our faults. It was the process fault. That led me to Dassault and CATIA. That didn\u2019t happen overnight. It was a year or so in between when I realized the power of the tools that were available. I dreamt, or speculated, that the architecture could regain control of the game. Whoever has the most information wins.<\/p>\n
And finally, a last word on L.A.<\/b><\/p>\n
FG: Most people from the East Coast and Europe have generally not paid much attention to us. They don\u2019t take people from L.A. seriously. It\u2019s given me the freedom, generally, to play the games I was playing without anyone believing I was doing anything. I didn\u2019t have that scrutiny. I believed that to be an asset.<\/p>\n
Photographs by PoYao Shih via SCI-Arc<\/i><\/p>\n","protected":false},"excerpt":{"rendered":"
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