Art on Melrose, Jim Murphy
«A few clues to the discerning might hint that architecture, not just building, was going on here.
Given Frank Gehry’s view of himself as an artist, it is fitting that a number of his commissions have direct connections to the world of art. Gemini G.E.L., one of the nation’s most prominent names in the field of fine arts graphics, was the client for this expansion of existing Los Angeles facilities. The combination of site—a flat corner lot in a commercial area along Melrose Avenue—and a straightforward program resulted in a quiet front façade treatment. A few clues to the discerning might hint that architecture, not just building, was going on here.
[…] It is a link between the existing building in gray and the new in white; that much is clear from the street. It turns out to include a stair up to the second-floor exhibition and documentation space, and a path through the open court behind the new building.
But the stair doesn’t obey orthogonal rules; it starts out inside the new building, but on a heading toward the old. A skylighted portion of it pulls free, cutting across the open passage, its exposed wood joists carrying through the orthogonal new ‘wall’ plane into the interior space beyond. Juxtapositions of raw plywood, exposed joists and studs, inside and outside, give the sense of casual chaos and, as in much small-scale Gehry work, of not being finished. However, the details and handling of materials confirm that the design is under control.»
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