Frank Gehry


    NO LIVING ARCHITECT has done more to change the face of the field than Frank Gehry. Many of his works—the Guggenheim Bilbao among them—are world-famous attractions, while his pioneering engagement with digital modeling software has permanently altered the way buildings are designed and constructed around the globe. Here, as part of Artforum’s ongoing conversation series about museum architecture, senior editor Julian Rose speaks with Gehry about art, architecture, technology, and the complex interplay among them.

    JULIAN ROSE: Not many architects can say they have a cultural phenomenon

  • Zaha Hadid

    WHEN I LAST SAW my friend Zaha Hadid, it was a few weeks before her death, at the Yale School of Architecture. We liked being together when we taught, so over the years we managed to arrange our schedules to be at Yale at the same time so that we could meet and greet and talk and drink and complain and have fun.

    I first met Zaha many years ago, when she had just been announced to the world as the winner of the competition for the Peak Leisure Club in Hong Kong. The drawings and paintings that she produced for her project were mesmerizing and suggested a new idea, a new world, for architecture.


    WRITING AN INTRODUCTION to an essay by an architecture critic who has written, to this point, rather kindly of my work, and who at some point will inevitably have a reason to do otherwise, presents a rather precarious position.

    The world we live in is a place where a lot of buildings are made, but very few eke out the merits to be called “architecture.” When they do, it is the job of the architecture critic to tell people, from some intelligent vantage or viewpoint, what they are looking at. The critic presents a context for the work, and a passion for both its successes and its failures, and