Frank Gehry gets to build again in LA

The Philharmonic architect has won the Colburn music school project across the road.

More here.

 

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  • The picture says it all. A flabby monstruosity dropped from an alien space ship from a planet exclusively populated with drunk Gehries complimenting each other.

  • If it is like LA Philharmonic, I’m sure they will put someone sponsored by a Dictator to be the clown of the show.

    LA is just so far as an example of great achievements. It is just the biggest promoter of hypeness in the world. Ok, there many ones that love it, and someone will say I must respect it. Let’s make a deal, respect my revulsion and I will at least respect your wishes for grandness.

  • The difficulties of concert halls in such style is the psychological impression they produce: distance to the repertoire that is performed in it, works from past eras as inaccessible objects in a museum. It contributes to what ignorant people call a ‘museum culture’. So, such buildings contribute to the philistine critique of classical music as no longer relevant to the modern world, and thus help undermine the art form.

    http://subterraneanreview.blogspot.nl/2018/01/concert-halls-and-distance.html

    • What a bunch of malarkey! When the LA Phil performs Ligeti and Beethoven on the same program, does that confuse the audience? Is Disney Hall appropriate for Lutoslawski, but not Rachmaninoff?

      • Classical music does not only consist of sound, but has also a psychological aura. You don’t want to eat excellent food in a garage, however delicious. You don’t want ot have your expensive Bordeaux poured from a cardboard box into a plastic beaker. You don’t want your PA walk around in dirty drags, however fat she may be. Many modern concert halls have not the slightest sign in their ‘outfit’ of musical activity and are sterile, futuristic expressions of their architect. That is not so difficult to see….. for instance, concert programs with Ligeti or Xenakis folded between Tchaikovsky and Ravel (‘shit sandwich’) deny the fundamental difference between sound art and music. In fact, Gehry-style concert halls are best for sound art: they both emanate the denial of humanism and pander to the utopian fantasies of the ignorant.

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