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1. residences: |
Cubo-Suprematism Part One:: three houses: Familian, Gehry, Schnabel. Part Two:: three museums: Gabrillo, Vitra, Guggenheim. Part Three:: The African Connections in F. Gehry Architecture. |
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| Part One: three californian houses |
| "The reasonable thing to do is to learn from those who can teach." (Sophocles) "My approach to architecture is different. I search out the work of artists, and use art as a means of inspiration" (Frank Gehry) In thinking about Frank's work and of its evolution, it seems an expression of what we would like to call the work of the "New Perspective" - most easily understood by referring to the explorations of Cubism... For as the eye moves constantly, so, in architecture, does the observer. In architecture the constantly shifting perspectives of spaces are further affected by the passage of time as one moves through them. (Peter Arnell) |
| House One: Familian House |
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 G. Macrae-Gibson in "The Secret Life of Buildings" has revealed the essentially suprematist grouping of the Familian House by comparing it to Malevich's"Suprematist Composition:Red Square and Black Square". |
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also relates the residence's use of rough framing, bracing and bridge connections
to those of a constructivist stage set by Lyubov Popov. Gehry's fascination with the palpable quality of common buildings materials and their unconventional applications is an integral part of his architectural language. (Harrison Fraker in "F. Gehry artistic references"-Midgard) Gehry transforms Malevich's abstract idealism into concrete forms that are eccentric and individualistic. (M. Macrae-Gibson) |
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| House Two: Gehry House |
 The Tumbling Cube In and Out: Malevich's idealized black cube, rendered in glass and distorted. |
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| It is not the material nature of the world as revealed by perspective but the nature of our perception of the world that is represented here. It is not the representation of things perceived, but the representation of perception as a centering force. |
| Frank Gehry: The Schnabel House |
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