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Frank Gehry's design for the Museum of Pop Culture is built on the idea that a building about rock and roll should look like no building that came before it — a crumpled, lurching form clad in thousands of individual metal shingles, each one cut and fixed by hand, that shift color with the light the way a guitar body shifts under a stage spot. The cladding itself is the argument: stainless steel and painted steel in gold, purple, and silver, applied to compound curves that no conventional fabrication process could have resolved without the same 3D modeling software Gehry's office pioneered at Bilbao. Here the photograph pulls in close on the building's upper volume, isolating two great billowing forms in gold-toned steel where they meet and press against each other, a flat panel of cooler silver rising between them like a wave crest catching a different quality of light. The tight crop and open sky above eliminate all context — street, monorail, Space Needle — leaving only the forms themselves, faceted and liquid at once, somewhere between sculpture and collapsed tent. Seattle built a monument to noise and called it architecture; Gehry had the decency to make it look the part. 🖼️ Need help finding a gallery wall frame for your prints? We’ve put together a list of gallery wall frames available for each of our frame sizes.
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