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
Ingres’ Bather of Valpinςon
White can be blinding. White can disrupt your thinking. White can be tiresome. According to Faber Birren’s book “Color & Human Response,” white can be bleak, emotionless, sterile. K. Warner Schaie, in discussing the pyramid test in which wide assortments of colors are placed on black-and-white charts, noted that incidence of the use of white by schizophrenic patients was 76.6 percent as again 29.1 percent for supposedly normal persons. So anyone who places white first perhaps needs psychiatric attention. It would be better to dislike white, but here again few persons are encountered who so express themselves.
Ingres’ Bather of Valpinςon is the calm representation of Classical beauty in the human nude. Notice the varying shades of white in Ingres’ painting. White and light colored skin is, depending on the artist, a few chosen pigments and white. Notice the white covering over the settee, there are other colors in it. Can you see them? There are hundreds of variations of white.
Then when is white a practical solution?
Untitled by Franz Kline, a canvas covered in white variations
White for the artist. For the watercolor artist, white paint is not necessary. I have never used white in my watercolors, because you can lighten your colors with water. And, you can leave the white of the paper in your painting for the white areas. For the oil or acrylic painter, mix the white into color to lighten, or for pastel, add color to white.
Sounds pretty easy, doesn’t it? It isn’t hard, but you need more information if you use white in more than one color. White can make mud out of your paint. Pastel painters have scads and scads and scads of color sticks as do oil painters who have gazillion tubes of paint from the lightest to the darkest in almost every color. So why do you need white? It’s possible to use white in your mixes, especially if you add white to lighten only one color. If you add white to more than one color, it can muddy up your work, the same as cadmium yellow can. We talked about cad yellow in last week’s blog with David Dunlop. More mixing meant less light bounced back to the eye and resulted in a weak color effect. Mixing opaque colors together is called subtractive mixing because it subtracts light. http://gailingis.com/wordpress/?p=2252.
Your intent was to lighten, but instead, it deadened. Deadened with
Sculpture in glass by Tony Cragg, All white sculpture, mixture of textures
opaque pigment. But it takes time to learn what makes beautiful mud. Yes, there is such a thing as beautiful mud. You always want your colors to be rich, to glow, to evoke emotion. To confuse the issue, white comes in several variations, some of which are: Flake White, Ivory White, Zinc White, Titanium White and the combo of Zinc White and Titanium White. The properties of these paints vary.
According to Ralph Mayer’s The Artist’s Handbook of Materials and Techniques, Fifth Edition, Revised and Updated, titanium pigment has the greatest opacity and tinctorial power of any of the whites. Titanium is the most important opaque white pigment in current use. An extremely dense, powerful opaque white of high refractive index and great hiding power. Absolutely inert, permanent. Flake White is stiff, and Ivory White is fluid, both are semi-opaque and good for touching-up and mixing. According to Winsor & Newton, Zinc is less opaque, making it ideal for tints and glazing, however, it dries to a brittle film that can crack.
White room, varied whites and mixture of textures
White for your home/office. The everlasting question to me as an interior designer is, “should I paint my kitchen white?” My answer is always, “NO.” Not pure white. If your preference is to make it look bright and clean and you think white is the answer, here’s mine. Paint your walls off-white, like Benjamin Moore’s 966 or 969 (I call them greige, 969 is the lighter of the two), or something with a little more pizzazz, like BM’s 860 that is in-between white and gray. The finish on the walls should be Eggshell finish. Ceiling, super white flat. All the trim can be a bright semi-gloss white. Now the room has that sparkle you are looking for and stays clean for years. And, you can have your white cabinets, but in Benjamin Moore’s Dove White. Never use pure white on a large expanse of space like the walls, cabinets, or floors. With these combinations, you have contrasting surfaces and varying textures giving your kitchen interest as well as beauty.
Can you see the correlation between white for art and white for the home? Did you discover the white you never knew? What does white mean to you?