Originally Posted by SkinnyGoomba
I appreciate his approach, but I much prefer design grounded in classical proportion. Interesting use of simple geometry and proportion do more for me than abstract forms.
I also do not like the effect it has on the interior spaces, creating a lot of very odd little spaces. I'd rather it end up having a fantastic interior than an interesting shape on the exterior. Those interior spaces are really dull.
Having been in the building I partially agree. I was surprised at how drab the common hallways were. Indeed the lobby and hallways are rather dark. But I attributed it to being "a New York" thing at the time.
Originally Posted by Loathing
Completely agree with Skinny. I think it's extremely pretentious and impractical to live in an abstract sculpture. Those interior spaces are really very poor in terms of usability, dimensions, proportions, and so forth. The fenestration is also inelegant and the glazing stingy, which looks bad on both the inside and outside. That's typical of pretentious architecture: all of the budget is used up on formal abstraction, and you end up with shitty windows.
Besides, I don't think Gehry's building works as a sculpture at all. It is top-heavy and extremely clumsy, and there is nothing clever or thought-provoking about it. I would be impressed if someone could explain the rationale behind as a sculpture, let alone as a building.
I was actually impressed with the window views, but that was from about halfway up. One thing: I have a bit of thing about heights. I don't freeze up but when ever I'm looking out over a tall view I still get that flight response twinge in the calves, and it can distract from appreciating the view. I didn't have that feeling at all looking out from the 40th floor of Spruce Street, and I'd attribute that to the set-in fenestration.
In any case, floor plans are also seen as problematic with Marina City.
I also found a rather hokey industrial film about the construction of Marina City. The details of how the project was put up are interesting, as well as the whole aspirational "America-Before-We-Fucked-Up" narrative of the piece. In the beginning, there is some snark about how the floorplans "vanquish the dilemma posed by corners."