Açalya Klyak wrote in On Site 9: surface about the similarities between the construction of the Statue of Liberty and Frank Gehry's Experience Music Project [Rock and Liberty]. Both use sheet material to cover curved volumes: in Bartholdy's statue, copper was hammered into shape (repoussé), and in Gehry's project, sheet material is cut into shapes small enough that they can smooth over a curve, rather like fish scales.
Klyak notices the historic relationship between drapery and wealth – there is an extravagance to drapery not found in other kinds of clothing. Drapery, compared to tailoring, cannot be standardised, or even repeated. It is fluid and slippery and depends on the structure beneath; it is not structure itself as is the tailored hunting jacket. In her article Klyak felt Gehry's draped surface was entirely appropriate to the expense of the project, even calling it 'Versace for buildings'.
It is interesting that after the publication of Diderot's Encyclopédie which revealed to all hithertofore arcane and guarded methods of manufacture, and after the revolution, which the Encyclopédie had philosophically anticipated, complicated garments fell completely out of fashion, in favour of drapery. It is the way of fashion, once anyone can have it, it is no longer very interesting. It has taken twenty-five years for the odd angles and diverted planes of Gehry's early work to become de rigeur for almost all new not-very-expensive commerical buildings: the meaning and reference for shifting off axis, for bending skin away from structure has long been lost and we are faced with style. And thoroughy tiresome has it become.
Anyway, back to the Encyclopédie and the French revolution, the Statue of Liberty as a gift from liberated France to liberated America, the liberation of skin from structure – Eiffel engineered the iron framework of the Statue of Liberty, le Corbusier's second point in Vers une architecture – the free façade. There's a thread here.