Frank Gehry on his Creative Influences (Modern Architecture in Los Angeles)



I had no idea one being architect I didn't know what I wanted to be I took night classes at LA City College and got all my LA California requirements taken care of that way so I graduated 1954 then I went get the army college I mean a graduate school came back I worked for prayer on the LAX and that's when I met Walt Disney actually first time the first and only time I'm there and because they were we were doing the layouts for LAX and Pereira who was my teacher in fifth year architecture school he always liked my work la it was pretty open everybody was struggling they were all and we were all poor we didn't have any anything it was vibrant it was exciting it was engaging it was going somewhere it had a point of view but it was open to I mean you had Larry belly at Irwin yet Jarnell toon drawing freaking things you have wall-e Berman with his very intellectual plane which who we just the dork you know what it was Mamma Mia was a treat to spend time with him and so it was like a candy store an intellectual candy store was way above the level of the architects the architects were not talking about poetry and music and and Michelangelo there were no rules there were no you can't do this which I loved I mean because I studied Talmud as a kid with my grandfather Tomlin is why everything is why it's wide open it's the one good thing about the Jewish religion is that it's intellectually curious and I need your race that way you have to really love the stuff that they were doing then he couldn't do an architecture gave me a license somehow oh okay you know it's so I mean Russian Burke's combines so okay to make to use junk because I couldn't get refined details with the kind of people I was working with you know I was trained by the Vienna guy at GRU ins but when I started working I got really cheesy clients you know they didn't have any money and so there were hammer marks and you know he couldn't get that Viennese perfection and luckily I was part of the art scene I saw what was going on and it was kind of enabling was licensed and it allows me to to work within budgets and stuff because it's it's not so perfect but this house was a two-story it was on the corner was the only two-story it's in a transition zone so across the street on on Washington it's ar3 and behind us it's an r3 so we're right in a transition between single-family and I wanted to preserve the character of the Dutch gambrel house so because it was iconic in a way and I wanted to preserve its iconicity and so I built the house around it and played a collage I guess against the other house you know if if I hadn't known combines I probably wouldn't have done it right but I loved the idea of the kitchen being on the driveway and I had people so if you could imagine the kitchen with the framing up you know looking down that that space and a steamroller for the asphalt was in the room how they got in there and it was going back and forth my excitement was that I changed it and I did it for real cheap it was a turning point man it was the first time I was completely on my own you

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