Architects who don’t compromise
New York is "Gehrified." Protesters launched their movie stars against Frank Gehry, the world's most famous architect. Trying to stop him from recreating a large architectural project in Brooklyn. But Gehry’s resilience, talents and skills have inspired investors. His buildings make the city without jei buildings jealous, and jealousy is a powerful factor in urban development.
The first trace of the existence of Gehry has been seen in the West Chelsea area. His headquarters building for Barry Diller's e-commerce company InterActiveCorp is taking shape. The aligned cylindrical, opalescent glass ornaments slide over its spiral skeleton. There is never such a building in New York. If this strange building is retrograde in the wind, it is because it evokes the stilts in the famous Hudson Melville's novel Hudson River. Gehry rarely commented on other buildings around the Chelsea Piers across the street.
Gehry was also hired to design a performing arts center at the "9.11" disaster site and to design a new headquarters for the "American National Theatre" in Brooklyn. As an experienced architect, Gehry seems to have not had a chance in the city for a long time. Today, the 77-year-old architect is engaged in cultural, lifestyle and commercial design.
His most ambitious and controversial project is located in an important location in Brooklyn, the famous "Atlantic Yards" 16 buildings on 12 acres of ground. Developer Bruce Ratner wants to introduce "New Jersey" The New Jersey Nets, on the arrow-shaped land at the intersection of Atlantic Street and Frabs Street, builds a grand venue for them. To the west, it will be a high-rise office building, apartment residence, Shops and restaurants. This makes the area look new.
In order to calm the anger of the opponents, last week announced a small amount of new changes to the original plan, the opponents have gained an advantage. They said the project was not in harmony with the environment and was too large. They want to shrink the project and want it to reduce its display.
Gehry will certainly not let himself cater to the tastes of locals. His position is that his design represents progress, while the opposition represents a retrogression. He ridiculed at the press conference: "He should watch Henry Ford with a warning whistle." This is another of Gehry’s short-sighted opposition to the giant’s innovative ideas. Kind of saying.
In fact, he is correct. In order to reduce the voice of opposition, some people hope that he will design some works that are not in the limelight. But Gehry is uncompromising. He built a blockbuster building that made it a compelling center.
Gorgeous form and weird sensitivity
Gehry is doing an ambitious work to transform low-density, unfocused areas such as Los Angeles. Here, the Disney Concert Hall is the most majestic building. (For these areas, he also has an ambitious plan: to renovate and rebuild the neighborhood.) Gehry may have Brooklyn's "Atlantic tide" as a "blank" of similar buildings, but the Brooklyn people who live there don't think so. Gehry Los Angeles is seeing an area that needs to be remodeled along the railway. The conditions for building high-end buildings are ripe and will generate higher real estate prices. Others see a mixed race and mixed A complex network of income.
However, it would be wrong to portray the cover as a company tool for developer Ratner. Only a few architects are sensitive to the cultural implications of steel and glass, or to the path of human movement through the space he creates. Gehry is an expert in accommodating a conflicting agenda and making this agenda all his ideas. For example, the Disney Concert Hall proposes and almost solves an impossible problem: how to create an environment for symphonic music that combines democracy and beauty.
The initial frustrating appearance of the project was neither caused by poor design nor even by the complexity of traffic. The reality is that government agencies outsource public space buildings to private developers. Gehry's plan calls for the construction of a “no-gate†building community that is closed but accessible and beautified by the luxurious landscape design of architect Laurie Olin.
The design of the Disney Hall shows that Gehry has a knowledge of how to build such a building. The garden is arranged in the folds of the building envelope and is a rare urban “oasisâ€. It feels like it belongs to this building, not like it is to meet a contractual requirement.
Even in the new Brooklyn, Gehry is still radical, because he suggests bringing a gorgeous form and weird sensitivity to a stable city. Even in the highly urbanized part of the city, due to unexpected accidental luck, an ordinary tranquility was maintained.
When the American writer William Styron wanted to find a house for the protagonist of the novel Sophie's Choice in a poorly designed but extravagant building in Brooklyn, he described an ordinary residence. - "It has faded like the large, indistinguishable homes near Prospect Park, and it is not because of its remarkable and irresistible extremes." A small amount of whimsy is only an irresistible rebellion against urban dominant colors: brown sandstone, grey stone, grey asphalt and brown bricks.
Create a "new Jerusalem"
Gehry, an original architect from Venice Beach in Los Angeles, raised his fame by decorating the world with glowing metal sheets and intends to explain Brooklyn by transforming Brooklyn. All these mottled colors, all these heavy Victorian buildings, will be a wonderful backdrop for his starry night.
He travels along the city to find inspiration, and not only pay attention to a block or a civic organization, but also pay attention to a bride, a slow motion in a movie. Gehry, the film director in this architectural field, found the protagonist of his imagination. He called her "Miss Brooklyn" and used the name for the central building of the complex - a wavy, high-rise building made of white glass.
In Brooklyn, like in Los Angeles, Gehry is designing a medium-sized city. Gehry and the developers can't afford a simple mistake. Will be associated with the "Atlantic Tide Central District, there are quiet residential streets, busy traffic routes, a "Long Island Railway Company" station, a subway central station, a deserted "post-industrial area", luxurious long Street, a shopper tastes a fast food factory, a new office building, a cultural district around the Brooklyn Academy of Music, and historic streets. Almost all of these facilities revolve around the space of Ratner's dreams.
The protesters are artistically correct: "Atlantic tide, Miss Brooklyn" and the venue, all violate the spirit of Brooklyn architecture. But if the neighbourhood succeeds in frustrating the plan, they may eventually regret it. They may adopt A large number of more "sensitive" and "environmentally coordinated" flat brown decorations - slightly larger developments, but also far less sturdy than Gehry's design. This choice looks a bit like one of Ratner's recent projects - "Atlantic Center Mall." Architect Hugh Hardy unusually stuffed a "huge boat" between the brownstones and hoped it would blend in with other buildings.
However, if Gai's favorite wavy glass and shiny metal buildings are not used in Brooklyn, his arrogance and imagination will definitely be shown elsewhere. As their opponents said, he and Ratner are not trying to "manhattanize" Brooklyn. To be correct, they are selling something new to the region that is worth boasting. Manhattan may get one or two buildings, but Brooklyn will have a complete "New Jerusalem" signed by Frank Gehry.
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