brings them into Catia drawings, bills of lading, etc.This supports a process that has to do more with medieval accretion than modernist manifesto. And, what we love about complex, medieval space is preserved through the use of the most modern technology, effectively and efficiently. Frank Gehry’s process, as revealed in his work, deals with the relativity of the four dimensions and resonates with Gilles Deleuze’s folded space and time where wildly different concep- tual plan(e)s are aligned. Gehry stitches space to time in his renovations, urban interventions, and self-recursively in his freestanding projects
the morning but also marking difference. The stitching on of this skylight is defiantly unapolo - getic. So, the new skylight is stitched onto the new kitchen. The new dining, kitchen and breakfast space is stitched onto the old living, dining and kitchen space. The new space acknowledges the old in a temporal montage of meaning, both existing and new construction are cel- ebrated, and a harmony of place is created. Laboratory lessons learned in his house have been carried forward by Gehry to less modest projects. Before and after is clear in reno- vations but we have to take a larger perspec- tive in projects which insert new buildings into existing urban fabric, such as his Nationale- Nederlanden building in Prague, or less obvi- ously, the relationship of his Guggenheim to historic Bilboa. Here, Gehry takes the stitching of space and time to another, self-recursive level by producing a conceptual time line with in the project — the building contains a tem- poral montage of starting points in the design process. Gehry starts a project with the usual pro- grammatic and functional relationship diagrams, which develope into scaled plans, but then each individual space is generated indepen- dently from internal requirements, and sequen- tially based on the preceding space in a sort of game where the context is dynamic. A space is then stitched to its preceding, adjacent space, as if that space were already in existence. The project gathers its form together dynamically over time from multiple individual forces. Two-dimensional relationships are developed centrifugally, and the three- dimensional objects then grow centripetally from these plans, stitched in the space of their declared impacts and collisions. The technology that Gehry uses scans tra- ditional three dimensional design models and
to produce an electric, spatial complexity that approaches the complexity of cultural expe- rience, or perhaps, even, the dynamics of a hockey game.
Ward Eagen teaches new media at Ryerson, in Toronto.
CATIA study of the external skin, the Guggenheim Museum in Bilbao.
première. Le nouvel espace de la salle à manger, de la cuisine et de l’espace réservé au déjeuner est cousu à l’ancien espace réservé au salon, à la salle à manger et à la cuisine. Ce qui en ressort vient reconnaître l’ancienne struc- ture en un montage temporal où tant la construction existante que la nouvelle sont mises en valeur. Quant à la relation entre son propre Guggenheim et à
plans à l’échelle. Puis, chaque espace est généré de façon indépendante, en ayant recours aux exigences internes, et est axé de façon séquentielle sur l’espace précédent en une sorte de jeu où le contexte continue à se développer. Un espace est cousu à l’espace antérieur adja- cent, comme si cet espace existait déjà. Le projet rassemble ses formes de façon dynamique au
l’historique Bilboa, Gehry trans- pose le maillage de l’espace et du temps au même niveau auto- récursif en produisant une ligne temporelle conceptuelle au sein de ce projet – l’immeuble démon- tre, du point de vue du processus de conception, un montage tem- poral de points de départ. Gehry amorce un projet avec des diagrammes programmatiques habituels, qui se développent en
fil du temps à partir des forces individuelles diverses. Les relations bidimensionnelles sont dévelop- pées de façon centrifuge, et les objets tridimensionnels qui nais- sent de façon centripète à partir de ces plans sont cousus dans le cadre de l’espace de leurs impacts et collisions déclarés.
S ewing
O n S ite review
25
Made with FlippingBook interactive PDF creator