Maybe he would if he was bored, wasn’t enthralled by the breif, so looks for a suitable current trend by other prominent designers, mods it a bit. . . and be done.

next.

So to promote discussion: of course we all owe a debt to someone in the past. It is the baton principle. For me it was Richard Deacon. The issue is not where you came from but what you do with it. When I started this sort of work in the late 90s I was doing much more complex, craft based work, but made the decision to steer the idea towards designs that could be more easily produced in numbers — hence more regular sections and no (where possible) twist of the sticks.

Mathias is a superb craftsman, who has also mastered computer modeling, and recently took up the baton to push the idea back in the direction of more craft-based objects which could only ever be one-offs, or very limited editions. I think his work is amazing, and I am sure he would acknowledge his precedents (which also include Donald Fortescue in the Look series).

However Gehry Studios, in my opinion, do nothing new, simply creating different forms in the same manner. If it was some unknown studio trying to make their way it would bother me less, but this is one of the very best architectural/design studios in the world, and they don’t need to do this. Or at least they could take the baton and see how far they can run with it!

Have you noticed how Ghery finishes the tail of his structure with quite a coarse ending of somewhat ruggedly cut reeds? This adds to the “whooosh” effect of the dynamic snakelike form he has created. This is not to be observed in Pliessnig nor Trubridge, who prefer to trim their structures with rather more geometrically defined finish. Not that Ghery’s stance is superior in any way, indeed, there is a certain degree of impracticality to this feature, including the possibility of tearing ones tights!

There is also great elegance in the parallelinearity of the seating and the reeds are sufficiently spaced so as to give a true impression of translucency (again a subtle differentiator to the work of say, Pliessnig, who seems to prefer closer spacing) I would love to sit on this.

http://lh6.ggpht.com/_ZaflhHmPfBE/R7tdeWolkQI/AAAAAAAADaM/9P2QtYEuP3s/woodenchair0001.jpg

Anyhow if we delve into design history im sure someone did something similar a long time ago.

Also nobody owns the exclusive rights to designing in steamed wood, its like saying because a design is made from formed plywood its an “Eames rip off.”

also mathias hs work is muchhh more exciting to see and shape then davids..
I was surprised finding designer commenting on this by saying ‘ do you own stuff’
david. better mail gehry personally if it bothers you so much..