Chiat Day
The main goal of the project was to build the headquarters of the advertising company Chiat Day for the West Coast as a three-story office building with a three-story underground parking garage for 300 cars at a cost of 15 million dollars on an area of 7000 m². FOG also came up with a story about dividing the facade into three distinct elements (forest, ship, and telescope) and created one of the most famous projects in the history of postmodernism.
In 1978, a group of three people bought a plot of land just four blocks from the ocean at the intersection of two very lucrative streets. They created a project for nine three-story buildings with warehouses, offices, apartments, and studios, which did not receive much recognition. They came up with several variants, but they were still facing obstacles. One of the group left. The land lay fallow for a long time until Gehry met the director of the advertising agency Chiat Day at a concert, who wanted to build a headquarters for the West Coast. He left everything up to the architect, including the selection of the land. However, Gehry felt it was unfair to impose his own land, which had nearly ruined him and brought many difficulties. After fourteen days, the future client reached out himself, noting that he had learned from his agent that Gehry already owned a plot of land, and he quite liked it. He thus bought out the share from the other partner and could start the design process. Two things were clear to him: the ship and the forest as the facade, but what between them? The L-shaped interior developed from his previous projects for Rouse Company (1969-74) and Mid-Atlantic Toyota (1976-78).
Once, the client came to the studio for a consultation and, looking at the working model, said with a serious face: "You can't be serious!". Gehry promptly replied that he was not, and immediately replaced the huge can of nails above the entrance to the building with a telescope by Claes Oldenburg and Coosje van Bruggen, which was lying nearby on the work table. The director liked the idea and calmed down. A house as a billboard. Gehry had to call Oldenburg later to ask if he agreed to the idea of using his sculpture.
Oldenburg thus realized his largest sculpture to date, which would also function architecturally (two conference rooms inside), and Gehry expanded his thinking about potential architectural structures that could also succeed as sculptures.
In 1978, a group of three people bought a plot of land just four blocks from the ocean at the intersection of two very lucrative streets. They created a project for nine three-story buildings with warehouses, offices, apartments, and studios, which did not receive much recognition. They came up with several variants, but they were still facing obstacles. One of the group left. The land lay fallow for a long time until Gehry met the director of the advertising agency Chiat Day at a concert, who wanted to build a headquarters for the West Coast. He left everything up to the architect, including the selection of the land. However, Gehry felt it was unfair to impose his own land, which had nearly ruined him and brought many difficulties. After fourteen days, the future client reached out himself, noting that he had learned from his agent that Gehry already owned a plot of land, and he quite liked it. He thus bought out the share from the other partner and could start the design process. Two things were clear to him: the ship and the forest as the facade, but what between them? The L-shaped interior developed from his previous projects for Rouse Company (1969-74) and Mid-Atlantic Toyota (1976-78).
Once, the client came to the studio for a consultation and, looking at the working model, said with a serious face: "You can't be serious!". Gehry promptly replied that he was not, and immediately replaced the huge can of nails above the entrance to the building with a telescope by Claes Oldenburg and Coosje van Bruggen, which was lying nearby on the work table. The director liked the idea and calmed down. A house as a billboard. Gehry had to call Oldenburg later to ask if he agreed to the idea of using his sculpture.
Oldenburg thus realized his largest sculpture to date, which would also function architecturally (two conference rooms inside), and Gehry expanded his thinking about potential architectural structures that could also succeed as sculptures.
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