When nothing is at right angles, nothing seems to vanish to the same point...Gehry's distorted perspective planes and illusionistic use of framing members engender the same feeling in the beholder [as do Ronald Davis's paintings where "the viewer is suspended above the warped perspective grids and tipped towards them"]; the tilting of planes expected to be horizontal or vertical and the converging of studwork members cause one to feel suspended and tipped in various directions oneself.

Source type: picture
Info: Robert Davis / Tilt / color etching with aquatint on Arches paper / 1980
Original size: 836x1541 px. Edit

What this account suggests is nothing quite so much as the alienation of the older phenomenological body (with its right/left, front/back, up/down coordinates) in the outer space of Kubrick 2001, with the security of the Newtonian earth withdrawn. The feeling is also surely related to that new shapeless space -- neither mass nor volume -- which characterizes Portman's vast lobbies (according to me) 14 in which streamers and hangings remind us like ghostly remanences of older partitioning and structuring boundaries and enclosure categories, while also withdrawing those and offering the illusion of some new and meretricious spatial liberation and play. Gehry's space is, to be sure, far more precise and sculpted than those enormous and crudely melodramatic containers. In a more articulated way it confronts us with the paradoxical impossibilities (not least the impossibilities of representation) which are inherent in this latest evolutionary mutation of late capitalism toward "something else" which is no longer family or neighborhood, city or state, nor even nation, but as abstract and nonsituated as the placelessness of a room in an international chain of motels or the anonymous space of airport terminals that all run together in your mind.

File type: video
Info: 2001: A Space Odyssey "Star Gate" sequence
Original Url: https://www.youtube.com/watch?v=ou6JNQwPWE0
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