It is perhaps fitting that in 2012, starchitect Frank O. Gehry designed the abstract white stage set for Christopher Alden’s abstract and sublime production of Mozart’s Don Giovanni by the Los Angeles Philharmonic. I certainly would not be surprised by the many clients, builders and even fellow architects who wouldn’t wish to see Gehry consigned to flames of hell, dragged into its depths for his unapologetic architecture and obsession with moving fish. Indeed even I at times, even when looking at his latest ‘crumpled paper bag’ (as it is ‘affectionately’ known) creation in my home of Sydney must look up and quizzically enquire, “Mr. Gehry, what do you think you are doing?”
Read MoreLadies and gentlemen, let us give a warm hand to Sydney’s newest celebrity! More controversial than Utzon and certainly more talked about than the demise of James Barnet’s sandstone monuments, it seems certain that everyone in Sydney has an opinion on Mr. Frank O. Gehry’s brown paper bag. Indeed, no woman but the dame of Sydney’s architectural criticism circuit Elizabeth Farrelly could have expressed more eloquently the status of Gehry’s structure: “But if, like me, you suspect there's more to life than unbridled market-forces, more to literature than Fifty Shades, more to architecture than the whackiest curves your software can spew up, more to beauty than two oiled and opulent orbs [of Kim Kardashian] – this "more", surely, is something our houses of higher learning should pursue.” (Farrelly, 2015).
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