Frank Gehry: The Invention of Supple Rigor

Frank Gehry: The Invention of Supple Rigor

I've long enjoyed the work of Frank Gehry. There is something magical about his lines, his movements, and his vision. They are so curvaceous, dreamy and accelerated. And yet, suppleness seems to take on a new measure of exactitude and precision. Rigor assumes a new shape.

I'm reading, "Conversations with Frank Gehry, with Barbara Isenberg", and I'm completely enchanted by the processual nature of Gehry's uncanny ability to incorporate the disparate: he utilizes other arts and concepts to rich and profound effect.

Here's Gehry on minimalism:

"I think it came out of the war, this tendency towards clearing the decks, cleaning everything up, having austerity and simplicity, making things minimal. I liked it in sculpture - Donald Judd, Richard Serra, Carl Andrea - I didn't like it in buildings. If you went into houses like that, you felt as if you had to sit a certain way. I couldn't imagine taking your jacket off and leaving it on a chair, or leaving your shoes while you got your slippers. It would just feel like you had to be more careful about things. Now people are doing it again. There's a nouveau minimalism now, and it seems more ridiculous than the first time around.

Then he adds: "Having said that, I love Ellsworth Kelly. I love minimalism in art, I do. I just wouldn't want to live in it. I wouldn't want to subject other people to it. But maybe there's a Zen quality about it."

Pictured above is one of my favorites of his work. It's his Santa Monica house that he renovated in 1978.