It understands and adapts to its peculiar context far better than the buildings by well-known architects that preceded (Arata Isozaki's Museum of Contemporary Art, Moneo's cathedral) and followed it (Coop Himmelblau's arts high school) on Grand.Īnd thanks to Gehry's productive collaboration with the acoustician Yasuhisa Toyota, Disney Hall solves the devilish practical challenges that have frustrated a long line of concert-hall architects. The building, which will turn 10 years old next month, responds to the lonely moonscape urbanism of Bunker Hill with a shimmering, canny gregariousness that spills down Grand Avenue in both directions. The comment, partly a joke, perfectly summed up the conventional wisdom that had gathered around Gehry's work during the time he was designing Walt Disney Concert Hall.Īs the prevailing caricature had it, Gehry was architecture's answer to the action painters of the 1950s: Jackson Pollock operating at an urban scale, working as much by intuition as strategy, and dribbling his unorthodox forms across building sites instead of canvases.ĭisney Hall, in that sense, may rank as the most effective answer to doubters, naysayers and grumbling critics a major American architect has ever produced.
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