Frank Owen Gehry, CC (born Frank Owen Goldberg; February 28, 1929) is a Canadian-American Pritzker Prize-winning architect based in Los Angeles.
His buildings, including his private residence, have become tourist attractions. His works are cited as being among the most important works of contemporary architecture in the 2010 World Architecture Survey, which led Vanity Fair to label him as “the most important architect of our age”.
The tower at 8 Spruce Street in lower Manhattan which was completed in February 2011 has a stainless steel and glass exterior and is 76 stories high.
Gehry’s best-known works include the titanium-covered Guggenheim Museum in Bilbao, Spain, photo above; MIT Ray and Maria Stata Center in Cambridge, Massachusetts; Walt Disney Concert Hall in downtown Los Angeles; Experience Music Project in Seattle; Weisman Art Museum in Minneapolis; Dancing House in Prague; the Vitra Design Museum and the museum MARTa Herford in Germany; the Art Gallery of Ontario in Toronto; the Cinémathèque française in Paris; and 8 Spruce Street in New York City. But it was his private residence in Santa Monica, California, that jump-started his career, lifting it from the status of “paper architecture”—a phenomenon that many famous architects have experienced in their formative decades through experimentation almost exclusively on paper before receiving their first major commission in later years. Gehry is also the designer of the future Dwight D. Eisenhower Memorial.
Casa Danzante, Prague–Inspiration dancing couple Fred Astaire and Ginger Rogers
Much of Gehry’s work falls within the style of Deconstructivism, which is often referred to as post-structuralist in nature for its ability to go beyond current modalities of structural definition. In architecture, its application tends to depart from modernism in its inherent criticism of culturally inherited givens such as societal goals and functional necessity. Because of this, unlike early modernist structures, Deconstructivist structures are not required to reflect specific social or universal ideas, such as speed or universality of form, and they do not reflect a belief that form follows function. Gehry’s own Santa Monica residence is a commonly cited example of deconstructivist architecture, as it was so drastically divorced from its original context, and in such a manner as to subvert its original spatial intention.
Reception of Gehry’s work is not always positive. Art historian Hal Foster reads Gehry’s architecture as, primarily, in the service of corporate branding. Criticism of his work includes complaints that the buildings waste structural resources by creating functionless forms, do not seem to belong in their surroundings and are apparently designed without accounting for the local climate.
Reasoning has it his work is about possibilities… Form follows function is one of the long-standing slogans of modern architecture. Its use was pioneered by turn-of-the-century skyscraper architect Louis Sullivan, complemented by Adolf Loos’s 1908 assertion that ‘Ornament is crime’, adapted by Frank Lloyd Wright and adopted by Modernists and Bauhaus desginers such as Mies van der Rohe (‘Less is more’), Walter Groupius, etc. Originally meant to be defiantly honest – let the form of a building or product result from its function and no more – and anti-style, it eventually evolved into yet another set of un-interrogated conventions, and is now being both challenged and re-worked. Clearly seen in Gehry’s work.
Marques de Riscal Winery
Marques de Riscal winery is the oldest and most traditional of the Rioja.
Architecture students the world over are inspired by Gehry’s work. His work is think-out-of-the-box philosophy.
Does Gehry’s work inspire your thoughts to change the world in some way? Think also of Steve Jobs, Albert Einstein, Thomas Edison, so many others. How will you change the way we think, make the world a better place? Are you a mover, a shaker?
Parts cited from: Frank Gehry - Wikipedia, the free encyclopedia
Colorcore fish lamp by Frank Gehry
Take a bite out of this fish. No one before or since Frank Gehry has tried this one, as far as I know. As we all know, Frank Gehry likes fish. In 1986 he made a glass fish for the Minneapolis Sculpture Garden; and between 1989 and 1992 he produced stainless steel fish for Barcelona’s waterfront to celebrate the city’s hosting of the Olympics. Then there are his buildings themselves that so often resemble the scales and fins of marine life.
The show has passed, but it should come as no surprise that The Gagosian galleries in Beverly Hills (January 11 – February 14, 2013) and Paris (January 24 – March 9, 2013) showed a collection of his fish lamps. Gehry first produced these back in 1984, when he accidentally smashed a piece of the then pioneering new Formica material Colorcore. The plastic shards reminded the architect of fish scales, and so he set about creating a series of lights from the mess.
Detail from one of Gehry’s new fish lamps
So, why the new show? Well, as a statement issued by the gallery explains, “In 2012 Gehry decided to revisit his earlier ideas, and began working on an entirely new group of Fish Lamps. The resulting works, which will be divided between Gagosians Los Angeles and Paris, range in scale from lifesize to outsize, and the use of ColorCore is bolder, incorporating larger and more jagged elements.”
While this new school of Gehry fish may differ a little from its predecessors, they are still built around a metal core and set on a wooden frame, and still look as naturalistic, considered and charming as any of his buildings.
You can see other work of Gehry on my blog last week. It included Gehry’s cardboard collection like Easy Edges (1969 – 73) and Experimental Edges (1979 – 82) of chairs and tables carved from blocks of industrial corrugated cardboard.
Every year in July, Romance Writer’s of America call author’s of romance to attend their conference. Workshops all day, wine and dine all night, ice cream socials… and lots and lots and lots of old and new fabulous friends. This is where you’ll find me for the week, so be patient for answers to your questions and queries. Come back next week for Frank’s think-out-of-the-box buildings.
Cardboard wiggle side chair
Frank Gehry’s wiggle side chair was the beginning of his most pervasive innovative ideas. While I was working in the interior design department at Bloomingdale’s, New York, Mr. Gehry came in to demonstrate the strength and comfort of his side chair. He climbed up onto the seat and jumped up and down. All of us, interior designers and furniture salespeople, watched in horror, but he knew something we all didn’t know, because he was smiling the whole time. This most amazing chair was impervious to the tests.
Artist: Anish Kapoor
Year Built: 2004–2006
Type Stainless steel
Dimensions 10 m × 13 m × 20 m (33 ft × 42 ft × 66 ft)
Location Millennium Park, Chicago, Illinois, United States
Cloud Gate, a public sculpture by Indian-born British artist Anish Kapoor, is the centerpiece of the AT&T Plaza in Millennium Park within the Loop community area of Chicago, Illinois, United States. The sculpture and AT&T Plaza are located on top of Park Grill, between the Chase Promenade and McCormick Tribune Plaza & Ice Rink. Constructed between 2004 and 2006, the sculpture is nicknamed “The Bean” because of its bean-like shape. Made up of 168 stainless steel plates welded together, its highly polished exterior has no visible seams. It is 33 by 66 by 42 feet (10 by 20 by 13 m), and weighs 110 short tons (100 t; 98 long tons).
Gail’s photo upshot from inside the Bean