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| Art Encyclopedia: Frank Owen Gehry |
(b Toronto, 28 Feb 1929). American architect, exhibition designer and teacher. He qualified at the University of Southern California, Los Angeles, in 1954 and attended the Graduate School of Design, Harvard University, in 1956-7. After working in various architectural practices, from 1962 he practised independently in Venice, Los Angeles. His early work focused on the potential of small-scale works to provide a succinct metaphorical statement, as with various exhibition designs for the Los Angeles County Museum of Art and his designs for the Josepth Magnin Stores at Costa Mesa and San Jose (both 1968), CA. In his major works he was interested more in the manipulation of architectural form than in technical innovation, and he was concerned with the conceptual and spatial content of buildings rather than the tighter demands of the architectural brief. Seeking an 'open-ended' approach to architecture, he was influenced by the work of fine artists, but his works of the late 1970s proved that his approach could provide habitable if haphazard buildings, as in the Wagner House (1978), Los Angeles, and his own Gehry House (1979) in Santa Monica, CA (see ARTIST'S HOUSE, fig. 7). The latter is composed of apparently casually assembled low-cost corrugated metal panels, steel poles and a canopy of wire mesh fencing. This idiosyncratic, industrialized effect, with the minimum of conspicuous expenditure, was also employed in the converted warehousing that he transformed into temporary accommodation for the Los Angeles Museum of Contemporary Art in 1983.
See the Abbreviations for further details.
| Biography: Frank O. Gehry |
Frank O. Gehry (Frank O. Goldberg; born 1929) was an American architect whose sculptured designs and use of vernacular materials won him somewhat belated but widespread recognition.
Frank O. Gehry was born in 1929 in Toronto, Canada, and moved to Los Angeles in 1947 with his parents, Irving and Thelma Goldberg (he changed his name in the mid-1950s). He studied at the University of Southern California from 1949 to 1951. After receiving practical experience as a designer in a Los Angeles firm, he returned to USC to complete his Bachelor of Architecture degree in 1954. Gehry studied City Planning at the Harvard Graduate School of Design in Massachusetts, an important center for the dissemination of the International Style. Leaving Harvard in 1957, the architect returned to the West Coast to work for a variety of firms before opening his own practice, Frank O. Gehry and Associates, Inc., in Los Angeles in 1962.
In retrospect it seems understandable that Gehry would move quickly to establish himself as an independent because he was a highly individual designer and talent. Gehry's childhood idol was Frank Lloyd Wright, who created a number of homes in the Los Angeles area during the 1920s. The bold individuality of Wright's California dwellings had an impact on Gehry's attitude toward house design. Also as a result of living and working in California, Gehry was exposed to the so-called "California progressives". Prominent in this group were Bernard Maybeck, Irving Gill, and Charles and Henry Greene; these designers were interested in experimentation with structure, materials, or form. Yet any suggestion that Gehry is a direct descendant of the progressive movement in California radically underestimates his own unique nature.
Critics falter when attempting to label or categorize Frank Gehry's work and attitudes. While some have called his architecture "post-modern" (referring to a movement that rejects the International Style in favor of pre-modernist ideas and models), Gehry's attitude is neither modern nor post-modern. Others have labeled him a deconstructivist, pairing him with such contemporary figures as Peter Eisenman who dismember (or "deconstruct") traditional shapes and forms in an attempt to free architecture from its theoretical and historical past. In short, what makes Gehry difficult to classify is his freedom from the constraints of popular theories, both past and present.
While Gehry rejects the minimalism of International Style architecture, he does appreciate the movement's love of man-made materials. Gehry goes further than International Style designers in embracing corrugated metal, chain link, and plywood. He celebrates these 20th-century materials in what he calls "cheapscape architecture." Gehry used these materials in his "Santa Monica Place", a low-budget shopping mall and parking garage of 1979-1981, as well as in his own home, also in Santa Monica, of 1977-1979. Yet through the years these inexpensive materials have become common in his work and are even regarded by some as his "signature".
If some of Gehry's buildings, including his residence in Santa Monica, appear to display qualities of deconstructivist architecture, they are created without the intellectual baggage of that movement. In his house project, the architect purchased a quaint 1920s suburban home, and wrapped it in chain link, other metals, plywood, and glass, thus creating the effect of an old house carefully preserved inside a newer one. Here his impulse was anything but deconstructivist; the "old" house gave meaning to the "new," and vice versa.
Gehry's architecture is characterized by an inclusive approach. He designs his buildings with a concern for the way people move through them. They are able to live and work comfortably within the spaces that he has created. His buildings are created to address the culture and context of their sites. In 1995 Gehry designed a building for the Department of Art at the University of Toledo, Canada; the building's architectural form was intended to represent the students' creative energy. In 1997 Gehry worked with the Experience Music Project (EMP) to design a 110,000 square foot complex scheduled to open in 1999 and comprised of an interactive museum, education center, and restaurant/nightclub showcasing live music. In the spirit of capturing the nature of contemporary music, the design for the building calls for fractured forms that will resemble guitar bodies. Exhibition spaces will resemble industrial rooms with pull down doors - a tribute to contemporary bands' beginnings in warehouses and garages. "I share EMP's goal of creating a place where the exhibits and the building treat music as a living and evolving art form," Gehry said in an article in TCI, March 1997.
Gehry stated once that "I approach each building as a sculptural object." In keeping with his sensitivity to sculpture and painting, Gehry enjoyed working with other artists in creating multimedia pieces. Perhaps the most famous of these projects was his collaboration with Claes Oldenburg and Coosje van Bruggen in an outdoor theater spectacular in Venice in the mid-1980s. The architect has said that the irreverent Oldenburg was a continuing source of inspiration. Gehry also worked with the sculptor Richard Serra. An outgrowth of their contact was a furniture series in which Gehry created a number of lamps that resembled coiled fish. Other official contacts with the arts community have included the designing of homes for artists, as in Gehry's 1972 Malibu studio for the painter Ron Davis.
Partly because of his irreverent approach to design, Gehry belatedly received recognition from the official world of art and architecture. An important showing of his work at the Whitney Museum of Art in 1988 signaled the beginning of this new attitude of respect and appreciation. The following year he received the Pritzker Architecture Prize, the profession's top international award. In 1991 Gehry won two awards from the American Institute of Architects for a "spunky and provocative" nine-story warehouse in Boston and a "village-like" sequence of low buildings for a furniture maker in Rocklin, California. In 1992 Gehry was awarded the Wolf Prize in Art, as well as the Imperiale Award in Architecture given by the Japan Art Association. In October 1994, Gehry became the first recipient of the Lillian Gish Award for lifetime contribution to the arts.
Gehry's models, drawings, sketches and furniture designs have been collected in important museums all over the world and presented in numerous exhibitions. One of the most important exhibitions was presented in 1986 by the Walker Art Museum in Minnesota. The exhibit toured throughout the U.S. and Canada.
Further Reading
To learn more about the architecture of Gehry and his peers - and see excellent illustrations of their works - consult Post-modern Visions, edited by Heinrich Klotz (1985) and The Language of Post-Modern Architecture by Charles Jencks (1987). Two fine collections of writings on contemporary architecture that feature chapters on Gehry's house in Santa Monica are The Secret Life of Buildings (1985) by Gavin Macrae-Gibson and The Critical Edge (1985) by Tod Marder. Two monographs devoted to the life and works of Gehry are The Architecture of Frank Gehry (1988) and Frank Gehry: Buildings and Projects (1986), edited by Peter Arnell and Ted Bickford. Paul Goldberger has written several interesting articles on the architect, including "Studied Slapdash" in the New York Times Magazine (January 18, 1976). A perceptive appraisal of Gehry's place in the contemporary architectural scene is Janet Nairn's "Frank Gehry: the Search for a 'No Rules' Architecture" in Architectural Record (June 1976).
For autobiographical works see: Gehry, Frank O., Individual Imagination and Cultural Conservatism, Volume I, Academy Editions, 1995. For biographical resources about Frank Gehry see: Eisennan, Peter and Gehry, Frank, Peter Eisennan and Frank Gehry, Rizolli International Publications, 1991 and Steele, James, Schnabel House: Frank Gehry (Architecture in Detail), Phaidon Chronicle Books, 1993.
For periodical articles about Frank Gehry see: Architectural Record, July 1993; May 1994; and TCI, March 1997.
For on-line resources about Frank Geertz see: http://www.bm30.es/proyectos/guggeuk.html, http://www.cf.ac.uk/uwcc/archi/jonesmd/la/index.html, http://www.cf.ac.uk/uwcc/archi/jonesmd/la/surf/chiat.html, http://hudson.acad.umn.edu/Frankbio.html, http://ted.com/ghery.html, and http://www.x-com.de/busstops/gehry.bio.html.
| Modern Design Dictionary: Frank Gehry |
One of the most prominent American architects and designers of the late 20th and early 21st centuries, Canadian-born Gehry established an international reputation for his dramatic and innovative explorations of materials and structures. His work with American sculptors Richard Serra and Claes Oldenburg reflected his interest in unconventional and imaginative design solutions. After studying architecture at the University of Southern California and urban planning in the Graduate School of Design at Harvard, from which he graduated in 1957, he worked in a number of architectural offices including those of Victor Gruen Associates, Pereira and Luckman of Los Angeles, and André Remondet in Paris, where he lived between 1960 and 1962. In the latter year he established his own architectural practice in Santa Monica, California, assisted by Greg Walsh. In the late 1960s he experimented with laminated corrugated cardboard furniture, producing the economical Easy Edges series that included the Rocking Chaise Longue and the Wiggle chair. In the following decade he devoted his attentions to more gallery-oriented and exclusive furniture designs including the Experimental Series. In the 1980s he worked on furniture designs for Knoll International, including the Bentwood Collection fabricated from interwoven maple wood strips taken from packing cases for apples, with ice hockey terms providing the names for individual items such as the Powerplay armchair and Off Side ottoman. Other designs for Knoll included the FOG (named after his initials) stacking chair of 1999 made of cast aluminium and stainless steel. Knoll International's Gehry Collection won numerous international design awards including Time's best design, the Roscoe Award, the ID Award (a Danish prize for product design), and the ASID (see Industrial Designers Society of America) Award, all for 1992. Gehry's buildings include the California Aerospace Museum, the Guggenheim Museum in Bilbao, the Fish Dance restaurant in Kobe, and the Entertainment Centre in Disneyland Paris. He has taught at a number of academic institutions including Harvard and Yale and is a Fellow of the American Institute of Architects.
| Architecture and Landscaping: Frank Owen Gehry |
Canadian-born American architect-(originally Goldberg). He settled in California, where he built several single-family houses from which most traditional forms were expunged. Examples are the Wosk House, Beverly Hills (1982–4), and the Gehry House, Santa Monica (1978–88): in the latter the rectangular form of the house is distorted, a tilted cube emerges from the façade, and layers of the house are peeled away to reveal the structure. He has specialized in using ordinary materials in an unusual way, in destroying structural logic, in playing down the problems caused by weather, and in disdaining gravity as a determinant of form. Other works include the California Aerospace Museum, Santa Monica (1982–4), the Iowa Laser Laboratory, Iowa City (1987), the Schnabel House, Brentwood (1990), the University of Toledo Art Building, Toledo, OH (1990–2), the EMR Offices, Hanover, Germany (1992), the Vitra Headquarters, Basle, Switzerland (1988–94), the American Center, Paris (1988), the Weisman Center, Venice, CA (1988), the University of Minnesota Art Museum, Minneapolis (1989–90), the Minden-Ravensberg Electric Company Offices, Bad Oeynhausen, Germany (1991–5), and the fragmented Guggenheim Museum, Bilbao, Spain (1991–7—where several volumes project from a central mass, and cladding includes titanium (for the gallery spaces), sandstone (public spaces), blue rendered walls (administration), and glass. More recently, his firm has completed the steel-clad Performing Arts Center, Annandale-on-Hudson, NY (2000–2), the Walt Disney Concert Hall, Los Angeles, CA (1989–2003—giving the impression of a partly-melted building), the Rasin (Fred and Ginger) Building, Prague (1989—2002—also resembling a partly-melted structure), and the Maggie Cancer Centre, Dundee, Scotland (2000–3—a small building in which, nevertheless, the geometries are as complicated as in his larger projects (perhaps overly so) ). His The Experience Music project, Seattle, has been considered as one example of Blobismus too many. In 2004 he unveiled plans for an Art Gallery, Toronto, Canada, near Alsop's Ontario College of Art and Design. Gehry has been identified with Deconstructivism.
Bibliography
The full bibliography for this book is available to download as a pdf file.
Download the bibliography for A Dictionary of Architecture and Landscape Architecture (PDF: 1.2MB)
| Wikipedia: Frank Gehry |
| Frank Owen Gehry CC LLD (hc) PhD (hc) DEng (hc) DArch (hc) DA (CIA, hc) DA (RISD, hc) DA (OAI, hc) |
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| Personal information | |
|---|---|
| Name | Frank Owen Gehry CC LLD (hc) PhD (hc) DEng (hc) DArch (hc) DA (CIA, hc) DA (RISD, hc) DA (OAI, hc) |
| Nationality | Canadian, American |
| Birth date | February 28, 1929 |
| Birth place | Toronto, Ontario |
| Work | |
| Practice | Gehry Partners, LLP |
| Buildings | Guggenheim Museum, Walt Disney Concert Hall, Gehry Residence, Weisman Art Museum, Dancing House, Art Gallery of Ontario |
| Awards | AIA Gold Medal National Medal of Arts Order of Canada Pritzker Prize |
Frank Owen Gehry, CC (born Ephraim Owen Goldberg, February 28, 1929) is a Canadian Pritzker Prize-winning architect based in Los Angeles.
His buildings, including his private residence, have become tourist attractions. Many museums, companies, and cities seek Gehry's services as a badge of distinction, beyond the product he delivers.
His best-known works include the titanium-covered Guggenheim Museum in Bilbao, Basque Country, Walt Disney Concert Hall in downtown Los Angeles, Experience Music Project in Seattle, Weisman Art Museum in Minneapolis, Dancing House in Prague, Czech Republic and the MARTa Museum in Herford, Germany. However, it was his private residence in Santa Monica, California, which 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.
Contents |
Frank Owen Gehry was born in Toronto, Ontario Canada, his parents were Polish Jews[1]. A creative child, he was encouraged by his grandmother, Caplan, with whom he would build little cities out of scraps of wood.[2] His use of corrugated steel, chain link fencing, and other materials was partly inspired by spending Saturday mornings at his grandfather's hardware store. He would spend time drawing with his father and his mother introduced him to the world of art. "So the creative genes were there," Gehry says. "But my father thought I was a dreamer, I wasn't gonna amount to anything. It was my mother who thought I was just reticent to do things. She would push me."[3]
In 1947 Gehry moved to California, got a job driving a delivery truck, and studied at Los Angeles City College, eventually to graduate from the University of Southern California's School of Architecture. After graduation from USC in 1954, he spent time away from the field of architecture in numerous other jobs, including service in the United States Army. He studied city planning at the Harvard Graduate School of Design for a year, leaving before completing the program. In 1952, still known as Frank Goldberg, he married Anita Snyder, who he claims was the one who told him to change his name, which he did, to Frank Gehry. In 1966 he divorced Snyder. In 1975 he married Berta Isabel Aguilera, his current wife. He has two daughters from his first marriage, and two sons from his second marriage.
Having grown up in Canada, Gehry is a huge fan of hockey. He began a hockey league in his office, FOG (which stands for Frank Owen Gehry), though he no longer plays with them.[citation needed] In 2004, he designed the trophy for the World Cup of Hockey.[citation needed] Gehry holds dual citizenship in the United States and Canada. He lives in Santa Monica, California, and continues to practice out of Los Angeles.
Much of Gehry's work falls within the style of Deconstructivism. Deconstructivism, also known as DeCon Architecture, 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, DeCon 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.
Gehry is sometimes associated with what is known as the "Los Angeles School," or the "Santa Monica School" of architecture. The appropriateness of this designation and the existence of such a school, however, remains controversial due to the lack of a unifying philosophy or theory. This designation stems from the Los Angeles area's producing a group of the most influential postmodern architects, including such notable Gehry contemporaries as Eric Owen Moss and Pritzker Prize-winner Thom Mayne of Morphosis, as well as the famous schools of architecture at the Southern California Institute of Architecture (co-founded by Thom Mayne), UCLA, and USC.
Gehry’s style at times seems unfinished or even crude, but his work is consistent with the California ‘funk’ art movement in the 1960s and early 1970s, which featured the use of inexpensive found objects and non-traditional media such as clay to make serious art. Gehry has been called ‘the apostle of chain-link fencing and corrugated metal siding‘ (B. Adams). However, a retrospective exhibit at the Whitney Museum (New York) in 1988 revealed that he is also a sophisticated classical artist, who knows European art history and contemporary sculpture and painting.
Gehry's work has its detractors. Some have said:[4][5]
Some have even described Gehry as a "one-trick pony" and an "auto-plagiarist"[6], referring to the similarity in style some of his buildings share.
Gehry was elected to the College of Fellows of the American Institute of Architects (A.I.A.) in 1974, and he has received many national, regional, and local A.I.A. awards, including A.I.A. Los Angeles Chapter Gold Medal. He presently serves on the steering committee of the Aga Khan Award for Architecture.Frank Gehry was awarded the Pritzker Architecture Prize at the Todaiji Buddhist Temple in 1989. The Pritzker Prize serves to honor a living architect whose built work demonstrates a combination of those qualities of talent, vision, and commitment, which has produced consistent and significant contributions to humanity and the built environment through the art of architecture.
Gehry is a Distinguished Professor of Architecture at Columbia University and also teaches at the Yale School of Architecture. He has received honorary doctoral degrees from the California College of Arts and Crafts, the Technical University of Nova Scotia, the Rhode Island School of Design, the California Institute of Arts, and the Otis Art Institute at the Parsons School of Design.In 1982 and 1989, he held the Charlotte Davenport Professorship in Architecture at Yale University. In 1984, he held the Eliot Noyes Chair at Harvard University.
Gehry has gained a reputation for taking the budgets of his clients seriously. Complex and innovative designs like Gehry's typically go over budget. Sydney Opera House, which has been compared with the Guggenheim Museum Bilbao in terms of architectural innovation, had a cost overrun of 1,400 percent. It was therefore duly noted when the Guggenheim Bilbao was constructed on time and budget. In an interview in Harvard Design Magazine [7] Gehry explained how he did it. First, he ensured that what he calls the "organization of the artist" prevailed during construction, in order to prevent political and business interests from interfering with the design. Second, he made sure he had a detailed and realistic cost estimate before proceeding. Third, he used CATIA (Computer-Aided Three-dimensional Interactive Application) and close collaboration with the individual building trades to control costs during construction.
Gehry is considered a modern architectural icon and celebrity, a major "Starchitect" — a neologism describing the phenomenon of architects attaining a sort of celebrity status. The term usually refers to architects known for dramatic, influential designs that often achieve fame and notoriety through their spectacular effect. Other notable celebrity architects include Jean Nouvel, Zaha Hadid, Thom Mayne, Michael Graves, Steven Holl, Rem Koolhaas, and Norman Foster. Gehry came to the attention of the public in 1972 with his "Easy Edges" cardboard furniture. He has appeared in Apple's black and white "Think Different" pictorial ad campaign that associates offbeat but revered figures with Apple's design philosophy. He even once appeared as himself in The Simpsons in the episode "The Seven-Beer Snitch," where he parodied himself by intimating that his ideas are derived by looking at a crumpled paper ball. He also voiced himself on the TV show Arthur, where he helped Arthur and his friends design a new treehouse. Steve Sample, President of the University of Southern California, told Gehry that, "...After George Lucas, you are our most prominent graduate."
In 2005, veteran film director Sydney Pollack, a friend of Gehry's, made the documentary Sketches of Frank Gehry with appreciative comments by Philip Johnson, Ed Ruscha, Julian Schnabel, and Dennis Hopper, and critical ones by Hal Foster supplementing dialogue between Gehry and Pollack about their work in two collaborative art forms with considerable commercial constraints and photography of some buildings Gehry designed. It was released on DVD by Sony Pictures Home Entertainment on August 22, 2006, together with an interview of Sydney Pollack by fellow director Alexander Payne and some audience questions following the premiere of the film.
Gehry is very much inspired by fish. Not only does it appear in his buildings, he created a line of jewelry, household items, and sculptures based on this motif. "It was by accident I got into the fish image," claimed Gehry. One thing that sparked his interest in fish was the fact that his colleagues are recreating Greek temples. He said, "Three hundred million years before man was fish....if you gotta go back, and you're insecure about going forward...go back three hundred million years ago. Why are you stopping at the Greeks? So I started drawing fish in my sketchbook, and then I started to realize that there was something in it."[8]
Standing Glass Fish is just one of many works featuring fish which Gehry has created. The gigantic fish is made of glass plates and silicone, with the internal supporting structure of wood and steel clearly visible. It soars above a reflecting pool in a glass building built especially for it, in the Minneapolis Sculpture Garden. Another huge Gehry fish sculpture dominates a public garden in front of the Fishdance Restaurant in Kobe, Japan.
In addition to architecture, Gehry has made a line of furniture, jewelry, various household items, sculptures, and even a glass bottle for Wyborowa Vodka. His first line of furniture, produced from 1969-1973, was called "Easy Edges," constructed out of cardboard. Another line of furniture released in the spring of 1992 is "Bentwood Furniture." Each piece is named after a different hockey term. He was first introduced to making furniture In 1954 while serving in the U.S. Army. He designed furniture for the enlisted soldiers. Gehry claims that making furniture is his "quick fix."[9]
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