Free Download Conversations with Frank Gehry, by Barbara Isenberg

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Conversations with Frank Gehry, by Barbara Isenberg

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From Publishers Weekly

With such signature buildings as the Guggenheim Bilbao and the Disney Center in Los Angeles, Frank Gehry has been called the most famous architect in the world. These conversations, edited from interviews California-based writer Isenberg (Making It Big) began with Gehry in the 1980s, cover topics from his first buildings—made as a boy from chips of firewood on his grandmother's floor—to current large-scale projects like a $3 billion redesign for Grand Avenue in downtown L.A. There is talk about the architectural politics of Los Angeles and the practical aspects of running a large architectural office. And while Gehry never name-drops, readers do get a sense of the celebrity and high-finance crowds in which he circulates. Gehry says he has always been more influenced by artists than by other architects, and those influences range from such friends as Robert Rauschenberg to Vermeer and Hieronymus Bosch. Whether designing jewelry or museums, he sketches constantly and his assistants build dozens of models before reaching a final design. Illustrations of these preliminary steps and of realized buildings add a visual component to the wide-ranging and informative conversations. 165 color and 41 b&w illus. (Apr.) Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

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From Booklist

*Starred Review* Arguably today’s best-known architect and certainly the most influential, Frank Gehry continues to challenge everyday thoughts about what a building can become. His iconic art museum in Bilbao, Spain, has made every community yearn for a structure that can so instantly become a landmark. In this oral history, Isenberg converses with Gehry about his life and his groundbreaking aesthetic. Gehry describes his origins, his Toronto upbringing, his decision to change his surname from Goldberg, his stint in the army, his education at Harvard under the GI bill, and his encounters with other architects and artists who opened his eyes to new and wondrous possibilities. He credits Los Angeles’ surging growth in the 1950s and 1960s for many of his innovations. Illustrations bloom throughout the text. Gehry’s drawings look like particularly inspired doodles. Photographs of Gehry in his offices and of his planned and completed structures help the reader visualize the physical ideas latent in the architect’s articulate and disarmingly unpretentious discussions. --Mark Knoblauch

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Product details

Hardcover: 320 pages

Publisher: Knopf; F First Edition edition (April 21, 2009)

Language: English

ISBN-10: 9780307268006

ISBN-13: 978-0307268006

ASIN: 0307268004

Product Dimensions:

7.7 x 1 x 9.4 inches

Shipping Weight: 2.2 pounds (View shipping rates and policies)

Average Customer Review:

4.8 out of 5 stars

15 customer reviews

Amazon Best Sellers Rank:

#417,686 in Books (See Top 100 in Books)

This beautifully-produced book is a teriffic gift for any Gehry admirer. It is a joy to own. Excellent photos & commentary.

Absolutely fantastic book about fellow architect and friend Frank Gehry. I enjoy his modesty about his work and appreciate what he has achieved...Barbara has done a GREAT JOB

Inspiring yet casual.I started reading it and couldn't stop.Read it and you are going to be happy ok.

Frank Gehry has amazing ideas, this book is a great purchase for folks who appreciate his work and want to learn more about his projects.

great book

what can I say I love Frank Gehry work.

Super! I love Frank Gehry's work.

This is a breezily readable, generously and eclectically illustrated book, packed with personal, practical and historical revelations and observations that paradoxically don't really add up to anything.But wait: that may very well be the point.First the good stuff. There are many, many pages here that are worth the purchase price: a photo of the model for the Disney Concert Hall that won the 1988 competition and that looks nothing like the finished building, another photo of what the Disney Concert Hall would have looked like had it been clad in travertine as was the original plan, Gehry's stories about surviving the Army and Harvard, Philip Johnson's assessment of the Bilbao Guggenheim, Gehry's practice of leaving building models outside for a year to see what they'll look like in the changing light of the seasons--and many more. I don't want to spoil all of them.Here's what isn't here: any singular philosophy or manifesto, anything admonishing or inspirational, any broad program or narrow purpose. In the sixties, Gehry started using rough, exposed framework and junky materials like chainlink and corrugated metal because, craftsmanship in construction had declined, and a perfect finish would have been impossible. In the seventies, he turned an ordinary house inside-out and outraged half of Santa Monica-because he needed extra space for his sons. In the eighties, he won the commission for the Disney Concert Hall by making an emotional appeal to Walt Disney's accessibility and unpretentiousness. In the nineties, he created the most astonishing building of the late twentieth century by first refusing a commission to repurpose an existing structure.Is there a pattern here? A take home lesson? None that I can see. It's all collaborative, and contingent, and improvisational, playful, experimental. Let's try this. That's not going to work? Then let's try this instead. Follow your genius. Go with the flow. Maybe it's all a big mystery.But no, there's not even any mystery. In one of the funniest exchanges in the book, Gehry says, (of the museum in Bilbao) "They wanted a Sydney Opera House;" to which Barbara Isenberg replies, "How could you tell that?" which prompts from Gehry, "They said, 'We want you to build us a Sydney Opera House.'"And that's exactly what he did. No big mystery. Not even anything to puzzle over.In many respects, this book is as open, obvious, user-friendly, and beautiful and witty as one of Gehry's buildings. But it's also, paradoxically, empty. The buildings are filled with music and people and art. The book is filled with words and explanations, which are, I think, playfully, delightfully, even insightfully, beside the point.

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