Frank Owen Gehry

FRANK GEHRY WAS born in Toronto, Canada, in 1929 At the age of 17, he moved with his family to Los Angeles, California and studied architecture at the University of Southern California. Later, he studied city Planning at Harvard University. He established his own firm in 1962 in Los Angeles.

MAGGIES CENTRE, DUNDEE, SCOTLAND

VITRA DESIGN MUSEUM, WEIL EM RHEIM, GERMANY

BIOGRAPHY

Since that time, he has designed public and private buildings in America, Japan and Europe. Gehrys work has earned him several of the most significant awards in the architectural field. Including the Pritzker Architectural Prize.

Gehry tower, Hanover, Germany

The dancing house, Prague, Czech republic

BIOGRAPHY

His deconstructed architectural style began to emerge in the late 1970s when Gehry, directed by a personal vision of architecture, created collage-like compositions out of found materials. Instead of creating buildings, Gehry creates ad-hoc pieces of functional sculpture. His Deconstructive architectural thought questions conventional ways of perceiving form and space. Architecture that appears fragmented, non-linear, with bent/uneven outlines and incomplete forms are indicative of his theory.

Deconstructivist

"Every building is by its very nature a sculpture. You can't help it. Sculpture is a three-dimensional object and so is a building. Frank O. Gehry I approach each building as a sculptural object, a spatial container, a space with light and air, a response to context and appropriateness of feeling and spirit. To this container, this sculpture, the user begins his baggage, his program, and interacts with it to accommodate his needs. If he cant do that, Ive failed. Frank O. Gehry

In spite of changes in Gehrys design over the years, his approach to a building as a sculpture retains.

DESIGN STYLE

Gehrys architecture has undergone a marked evolution from the plywood and corrugated-metal vernacular of his early works to the distorted but pristine concrete of his later works. However, the works retain a deconstructed aesthetic that fits well with the increasingly disjointed culture to which they belong.
Most recently, Gehry has combined sensuous curving forms with complex deconstructive massing, achieving significant new results.

DESIGN STYLE

The Gehry tower

WORKS

The Experience Music Project

Vitra Design Museum The Gehry House

Walt Disney Concert Hall Dancing House

Weisman Art Museum

Wfm Stata centre

THE GEHRY HOUSE

Photo coutesy: Thomas mayer

Location: Santa Monica, California Date:1978 Construction System: light wood frame,
corrugated metal, chain link

The Gehry House

Being an early example of DeCon , Gehry's own Santa Monica residence is not required to reflect specific social or universal ideas, such as speed or universality of form, and it does not reflect a belief that form follows function. It was so drastically divorced from its original context, and, in such a manner, as to subvert its original spatial intention.

By wrapping the perimeter of the lot with construction materials and leaving the original house as it was, Gehry created a new space between the lots lines and the old house.

THE ORIGINAL HOUSE WAS A SMALL, TWO STORY COTTAGE COVERED BY SHINGLE.

THE NEWBUNGLOW

A new roof was added to the additional spaces created

LAYER OF FLOOR

Glass cubes were placed over the kitchen and dining to throw in light

LAYER OF GLASS

THE EXTERIOR LOOK

GROUND FLOOR PLAN

FIRST FLOOR PLAN

ENTRANCE PLANS

Guggenheim museum bilbao

Location: BILBAO, SPAIN Date:1997 Construction System: STEEL FRAME,

TITANIUM SHEATHING

GUGGENHEIM MUSEUM

HIGHLIGHTER FOR BILBAO

The Guggenheim Museum at Bilbao was what made Gehry an architectural icon, and his innovative use of titanium sheathing, and the highly evolved structural system made this a watershed project for global architecture. The spatial quality of the design and its resonance with its different yet compatible context has made this titanium clad monument a sculpture in itself.

DESIGN

CALM AND UNINTERACTIVE

SUSPENDED WALKWAYS CONNECTING GALLERIES

RECTANGULAR LOFTS UNDER SKYLIGHTS

EXPERIENCE MUSIC PROJECT

Location: SEATTLE Date:2004 Construction System: STEEL FRAME,

EXPERIENCE MUSIC PROJECT

EXPERIENCE MUSIC PROJECT

The Experience Music Project in Seattle heralded a paradigm shift in the behaviour of Gehry's volumes as diverse colours and textures were used to define different functional groupings. This controversial project has gained Gehry the dubious acclaim for allegedly designing buildings that overwhelm their function and are designed largely as a juxtaposed collage of 'cool' forms rather than a functionally responsive, built environment.

DESIGN

GEHRY TOWER

GEHRY TOWER

GEHRY TOWER

Location: Hannover Date:2001 Construction System: Stainless steel

GEHRY TOWER

GEHRY TOWER

Constructed of stainless steel, the tower is memorable for the noticeable twist in its outer faade on a ferroconcrete core, making optimal use of the relatively small piece of ground on which it is located. The main features of the building are: Utmost use of the modern technology in material and execution Rotated and inverted form No color palette the original material color is maintained

Constru

FRANK GEHRY

THEORIES AND IDEOLOGY

FRANK GEHRY

Frank O. Gehry's work has spanned more than 4 decades, and his buildings have explored the sensitives of the spatial and functional context within which they exist. His architecture is unique in its interpretation of form, texture, colour and their interplay, and it is in these powerful expressions of pure geometry that he has invented a new, bolder style of architecture. His formalistic journeys are sketches translated to dynamic and bold forms and exciting interiors spaces. Gehry has excelled in his innovative and often surprising ways of using materials and surfaces. His architecture has been described as everything from deconstructive to organic.

THEORIES AND IDEOLOGY

FRANK GEHRY

His "theoretical approach would signify not the purely intellectual but rather the consistent will to interrogate the nature of architecture with each new project, to see design always as an inquiry into the language of architecture itself, programmatically and typologically.
HE TREATS HIS BUILDING AS A WORK OF ART AND LETS THEM EVOLVE OUT A FORM ON THEIR OWN. A HALF A CENTURY OF WORK HAS GAINED HIM RECOGNITION AS THE NEO MODERNIST MAESTRO.

CONCLUSION