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Although not even an architect, the closest thing to a starchitect that Canada ever produced (not including Frank Gehry who left as a child) was Bruce Mau. He didn't design buildings, but he embodied the same values and self-gratification of a starchitect. He was even a friend and collaborated with Rem Koolhaas, IMO the person most representative of the pitfalls of starchitectcure (read: style over substance) if there ever was one.
 
I'm with TKTKTK, what is currently called Starchitecture isn't a style at all. Anyways, we hardly look with disdain on past Starchitects like Frank Lloyd Wright or Christopher Wren. Every era produces it's Starchitects. Nothing is new in this, or even interesting.

I've said this before, I'll say it again - Gehry's building in Bilbao deserves every bit of acclaim it's received as it is the perfect building in the perfect place for the perfect purpose. A fantastic object equalling anything that modernism produced.
 
Of course it didn't. Your definition of starchitecture just means being designed by celebrity architects, which obviously precludes "local" architects from taking part by definition.

But they're not StarArchitects because hardly anyone has heard of them. Faux-Starchitects, maybe.

Exactly....
 
I've said this before, I'll say it again - Gehry's building in Bilbao deserves every bit of acclaim it's received as it is the perfect building in the perfect place for the perfect purpose. A fantastic object equalling anything that modernism produced.

Exactly, and if you dig a little deeper you find that this is actually what people or cities covet. Ignoring the truly superficial of snobs out there it's not about 'Starchitecture', and it's not about a 'Gehry' per se, heck even Poughkeepsie can get one of those if they want, but it's about getting design that delights and innovates with both form and function in a way that is generous to and appropriate for its context. This is where Diamond leaves us wanting, in forcing his dogmatic approach to architecture on us everywhere, like an imposed dose of cod-liver oil. Obviously it works sometimes, like even a broken clock will be right at least twice a day, but the misses tend to outnumber the hits in terms of Bilbao-type success as described by Archivist above, 'starchitect' or no.
 
Oh there's far more snobbery attached to high-fashion starchitect-designed baubles than there is to anything Jack Diamond ever designed.
 
That you, of all people, should accuse what you call starchitecture of snobbery, really is too funny. Starchitecture as you've defined it is the distionary opposite - big hair projects to attract the rubes.

And even better, this from the fellow who decides who the architectural elites are, and looks to them (when you want) for guidance in what to like and what not to like, accuses what you call "starchitects" of snobbery. It's too big a bellylaugh, and proves to me only that you will use any argument, however sadly unjustifiable, to put forward your theses.

Can't stop the laughter.
 
There's far more civic snobbery attached to getting a trophy-Gehry than there is to getting a "boring box" by Diamond. I can't think of a better example of pretentiousness - other than throwing around names like Sir Christopher Wren in order to try and link a current style born of today to buildings of another era.
 
And here's a reminder of how, with the economic downturn and the tide turning against the values of starchitecture, changing tack isn't always easy - from last week's NY Times interview with Gergiev about the Mariinsky2:

Gergiev’s loyal relationships with wealthy friends and government officials keep the Mariinsky afloat. For the past eight years, he has been pushing to build a Mariinsky II opera house, budgeted at about $500 million, to complement the jewel-box auditorium within the pale green, 19th-century Mariinsky Theater. By meeting with Putin and two cabinet ministers, he received approval for the expansion. Afterward, an informal competition in 2001 and a high-profile juried competition in 2003 each selected a cutting-edge foreign architect: first, an American, Eric Owen Moss, and then a Frenchman, Dominique Perrault. Both Moss’s iceberg of glass and blue granite and Perrault’s glass-and-gold snowflake geometry provoked outraged squawks in conservative St. Petersburg. Both died on the drawing board. Gergiev then resolved to select the architect himself and found one: Jack Diamond, designer of the Toronto opera house, a Modernist glass box that Gergiev says is superbly functional. “Jack Diamond is a practical man,” he told me. He sensed the climate wasn’t right for a project like Moss’s or Perrault’s. “Although it looks very good on paper, at a time when people are worried about their jobs and children, you don’t go for extravaganza,” he said. But he needs top-level authorization to dispense with competitions and start over right away with a new architect.

We were speaking in a hotel cafe in Moscow early last month when an assistant came up and handed him a cellphone. It was Elvira Nabiullina, the minister of economic development and trade, calling to say that she had talked to President Medvedev on his behalf. Gergiev thanked her.

“People are worried,” he told me afterward. “Let’s be honest, it’s a little bit smaller people in the picture, but I know the Canadian will do the job, and I take responsibility. Some people don’t want to be blamed. If anything goes wrong, everyone wants to be sure that I will be the one guilty.”
 
Mmmm the sexy language; "practical man," "suburbly functional," "[no] extravaganza," mmmm let's build this!

Wow US, that quote makes Jack Diamond seem every bit the penny-pinching, beauty-miser we've accused him of being :S
 
Perhaps, more than anything, it highlights the hard-sell of convincing certain cultural nabobs that the age of trophy architecture is over. Nothing dates quicker than yesterday's high-fashion merchandise, though there's a time lag in coming to terms with what's happening.
 
The Russian government not being able to afford something nicer than Jack Diamond doesn't herald an end to starchitecture any more than a Kia is a threat to the Rolls Royce. They don't compete.
 
Perhaps, more than anything, it highlights the hard-sell of convincing certain cultural nabobs that the age of trophy architecture is over. Nothing dates quicker than yesterday's high-fashion merchandise, though there's a time lag in coming to terms with what's happening.

It sounds more like survivor's guilt. Gergiev is afraid of the Mariinsky being perceived as a have in a time of have-nots. It also sounds as though he's facing quite a bit of skepticism that this is the direction he ought to be pushing in.

You can be sure that nothing Diamond designs will begin to look dated, but only because they're dated from the beginning.
 

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