New Forms Taschen 182

Vemc*. Califomia, 1985-87 Located just down the road from the Chiat/Day Mam Street build-ing. built on the site of an ice cream f actory and egg Processing plant, this group of structures shows all of the diversity and sculptural inventiveness of Cehry, calling extensively. for example, on chain-lmk fencing materiał and varymg color and surface effects to the widest extent possible C>ven its apparently Iow budget. this buildmg may not exist in 100 years, but then agam, most of Los Angeles probably won't either.

Pa ge 192 Frank O. Cehry Festival Oisney

Mame-la-Vall«e, France. 1990-92 Inspired by the electrical relay stations he saw near railroad stations in the United States, the stainless Steel dad towers of this large restaurant and boutique complex hołd up a web of tiny hghts, which add to the festive atmospherc in the evenmg.

Aside from the signs in the interior Street of the complex. Cehry imposed his own design on Disney, no smali feat in itself

glass. The museum's largest space will be a large boat-shaped gallery completely free of structural columns and measuring 130 m by 30 m. Most gallery ceiling heights will be 6 m or morę, which, together with the spectacular atrium, should give a very generous feeling of space to the whole.

Perhaps less oriented to the sophisticated manipulation of construction mater-iats than Frank O. Gehry, the New York architect Steven Holi has demonstrated on numerous occasions that the exploration of light and space in architecture does not inevitably entail extremely high costs. The offices he completed for D.E. Shaw and Company in 1991 are located on the top two floors of a skyscraper on 45th Street between 6th and 7th Avenues. These are offices for a company that makes exten-sive use of computers for trading, pausing only in the one and a half hour period when the Tokyo exchange has closed and the London exchange has not yet opened. Steven HolTs design, which received a 1992 National Honor Award from the American Institute of Architects, explores color reflection or 'projected color.' According to Holl's description, 'The metal framing and sheet-rock with skim-coat plaster was carved and notched at precise points around the central 31 foot cube of