Gehry Goes to Disneyland
by Ed Buch, CSI, CCS, AIA

I picked up a copy of “Symphony: Frank Gehry’s Walt Disney Concert Hall”, (published by Harry N. Abrams, 2003), thinking it would be one of those coffee table books, beautifully photographed but without too much additional substance, that are often available at the inauguration of a significant new architectural work or cultural building. This one, however, is different, very different. In addition to the now familiar photographs of the concert hall and its exterior, the book includes four essays that provide detailed insight to the design and, more importantly, the sixteen years it took to bring the project from competition to completion. For anyone interested in the process of architecture, this will be an i lluminating read.

Deborah Borda, the executive director of the Los Angeles Philharmonic, wrote the preface in which she characterizes the process as a roller coaster ride. She concludes by saying the ups and downs were worth it for the great music that resulted. In his introduction, Frank Gehry relates his nervousness during the design and construction about the acoustic quality in the completed hall. He also shares his hope that everyone would see music in the sculptural quality of his design.

The essay by Richard Koshalek and Dana Hutt was the most interesting to me of the four essays presented. Koshalek, president of the Art Center College of Design in Pasadena and a member of the architect selection committee, provides a chronology of the early stages of the project. This began with the $50 million donation by Lillian Disney in 1988. Koshalek describes in detail the architect selection process including some of the tension that must have been present on the Music Center Board of Directors. He relates in surprising detail the architect selection committee’s opinions of the presentations made by the four world famous finalists. While Frank Gehry was not the front runner at the start of the competition, but the end of it he was the obvious choice. It’s interesting to n ote that the design competition entry submitted by Gehry is dramatic ally different than the design that finally evolved. K oshalek also describes the significant sentiment on the Music Center Board of Directors against the selection of Gehry. The architect selection committee had a real challenge to convince the Board that their choice was the right one.

Michael Webb’s essay focuses on some of the more important architectural considerations Gehry had to deal with in the design. The selection of the acoustical consultant, the selection of the finish materials, both interior and exterior, the integration of natural light into the auditorium, and the use of CATIA software are a few of the topics he presents.

Esa-Pekka Salonen’s essay describes the fruitful working relationship he had with Frank Gehry and discusses the design as it developed from a musician’s point of view.

The story is enhanced by Grant Mudford’s 97 beautiful photographs. These include photos of the project made during construction as well as shots taken during the early stages of the architect selection and the design process. This is an excellent book and a great addition to your library on modern architecture.
Ed Buch is an architect in the Los Angeles office of Leo A Daly. A Nebraska native, he has worked in Los Angeles since 1988. Prior to that, he worked in Omaha and Lincoln, Nebraska, and 5 years in Riyadh, Saudi Arabia.