So it’s a curtain opening in terms of the full catalogue raisonné, and it’s of course a curtain opening in terms of your work.
What we see in the book, through a series of seventy-five built or unbuilt designs, is the process that led you to become Gehry, that put you on the map, ending with your house, which completely redefined the discipline of architecture. The second is the process of your development as an architect: the process that took you from the late 1950s, and the Steeves House in Bel Air, to your own house in Santa Monica in 1978. The first, of course, is the design process: how buildings are imagined, developed, and finally built, or remain unbuilt. This book is about the process-or, I should say, it’s about two processes.
There are lots of oeuvres complètes, complete works, out there, but they’re usually filled with photographs of buildings and final plans. This is a particular book in the realm of books about architecture. Jean-Louis CohenFrank, we’ve been in conversation for forty years, since I first came to see you in your wonderful house, which is the highlight of this volume. In an industry where the final product is reliant on many hands and machines, Gehry’s drawings are an intimate peek into his creative process. They are, for him, “the process to get to an idea.” Produced under the direction of Staffan Ahrenberg, publisher of Cahiers d’Art, and edited by architectural historian Jean-Louis Cohen, the catalogue raisonné gives us a comprehensive view of the work that defines one of the most expressive architects of our time. To this day, Gehry’s sketches and drawings are critical to his architectural concepts. It’s an opportunity to see the evolution of his vision, exemplified by the medium that has remained paramount in his creative process: drawing. Frank Gehry: Catalogue Raisonné of the Drawings, Volume One, 1954–1978, the first of eight planned volumes, is more than a catalogue of Gehry’s drawings.
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