Читать книгу Architecture. Dialectic. Synthesis - - Страница 20

The entire culture of mankind up to the twentieth century was dominated by rational – regular, symmetrically organized – forms. The avant-garde of the twentieth century rejects symmetry and highlights asymmetry. But again, this is an asymmetry of symmetry: the correct, symmetrical parts are asymmetrically organized into a whole. At the end of the last century, Frank Gehry made a new shift in architecture, opening up a whole world of irrational forms and combinations to modern architecture, which became possible with the help of computer modeling. The Guggenheim Museum Bilbao (1997) signals a profound change in the mentality of humanity.

I will present a few quotes about the irrationality of architecture of Frank Gehry from the chapter with the revealing title "Incomprehensibility" of A. V. Ryabushin's book "Architects of the Turn of the Millennium".

Unlike N. Ladovsky, who sought to use all architectural means to help a person navigate in space, F. Johnson admired the "spatial confusion" that is characteristic of the works of the intuitionist Gehry63. There is practically no "rectangular geometry traditional for modernism" left in his works.… Horizontals as such are absent, the rigor of verticals is minimal – a kind of compression and interpenetration of beveled and curved volumes and forms, a combination of multi-inclination sections and cuts, now straight then gently or vigorously bending protrusions and falls, various kinds of curvature spirals, creeping quasi-baroque arches of free outlines … The two exuberant sensual principles – baroque and deconstructive – are literally fused. However, it seems that the latter is by its nature a modern modification of the Baroque, which has always been atectonic and, in a sense, deconstructive" (about the Vitra Design Museum in Weil am Rhein, Germany, 1989)64. "The author was irresistibly drawn – and further away – from an orthogonal static coordinate system: from right angles and lines to curves of increasingly complex orders, from planes to multidimensional surfaces.65"

"…By the end of the 1990s, Gehry had found another spectacular compositional opportunity – a combination of "flying sculpturality" with traditional rectangular geometry.… This time saw the purposeful use of collision effects of opposing as if mutually exclusive geometries and materials.66" "In general, an amazing balance of organics and geometry, dynamics and statics, inclined, horizontal and vertical principles has been achieved" (about the Guggenheim Museum in Bilbao)67. A certain new architectural culture is making its way through Gehry's creations68.