Ever since his limestone-and-titanium Guggenheim Bilbao revolutionized architecture a quarter century ago, Frank Gehry has imbued concert halls, museums, and towers from New York to Seoul with flickering luminosity and irrepressible kinetic energy. The architect’s fascination with the human capacity to feel, whether through music, art, or other pleasures, is evident in many of his buildings: sweeping overtures to optimism and fantasy that wrap the viewer in a crescendo of unexpected form.
Six years later, the two men found themselves having long, transatlantic Zoom calls, talking about how to transmute everything they love about life into their work. “I said to him, ‘You know, Frank, the best perfume in the world is the wind.’ ” The Frenchman was thinking of how air and light filter through the billowing glass sheets at the Fondation, an effect Gehry intended.
Gehry's sketch of the sculptural perfume bottle; the Fondation Louis Vuitton in Paris, with its billowing glass walls.The resulting vessel was difficult to realize, Gehry admits, but ever so worth it. “It’s a small move, a tiny little effort, but it totally differentiates the result.”
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