The architecture of frank gehry
2 likes1,352 views
Frank Gehry is known as a deconstructivist architect. His early works in Los Angeles explored non-traditional forms and materials. A turning point was the Santa Monica Place mall, where he designed the interior first before constructing the exterior as a "huge sign." His later Lewis Building used digital tools to evolve radically between 1997-2000, incorporating traces of his past projects. Some of Gehry's most famous buildings include the Guggenheim Museum in Bilbao and the Walt Disney Concert Hall in Los Angeles.
The architecture of frank gehry
- 1. FRANK GEHRY AS A DECONSTRUCTIVIST The architecture of Frank Gehry, is closely related to that of the city of Los Angeles. He escapes the monumental, ignored the topological criteria, and bears with the mark, the stigma of the temporary and the ephemeral. He will respect a way of doing things but to him environmental pre-existence does not count. Some of his early works started by studying different architectures in Los Angeles. His first work was the house of the artist Ron Davis which was built in 1972. He took the idea of how Davis draws his paintings and came up with something similar for the drawings of the house of Davis. Gehry wanted to be close to the freedom of an artist so he always discovered the materials that he wanted to use for building house instead of just focusing on the drawings of the building. Santa monica house the turning point of his career was the Santa Monica Place, which caused a huge shift in Gehry’s work. In the Santa Monica Place of 1972-1980, he changes his way of constructing the outside before the inside. In this project, he designs the inside of the shopping mall completely, according to the logic that was dictated by the program. He later constructed the outside of the building but not as an architectural form or gesture, but as a huge sign saying “Santa Monica Place.”this was the change in Gehry’s work. His work had a complete change at that point because of instead of working from the outside in, he begins to work from the inside out. The lewis building The full transformation of Gehry's work is clearly seen in the Lewis building. The Lewis building was mainly done on the computer using two different architects each with their own opinion. It is necessary to distinguish Lynn’s idea of the digital versus that of Gehry and also between the conceptual in Lynn and the phenomenal in Gehry.
- 2. FRANK GEHRY AS A DECONSTRUCTIVIST The invocation of the digital part is important for the understanding of the evolution of the Lewis Building. This building went through a huge evolution from 1997 up until 2000. The final model was done in 2000, where there was a little bit of an argument over whether they should go with the digital or the analogue. The final product showed many traces that were taken from all of Gehry's previous projects that were discussed earlier on. Significant Buildings: 1967: Merriweather Post Pavilion, Columbia, Maryland (first Gehry structure reviewed by The New York Times) 1978: Gehry House (Gehry's private home), Santa Monica CA 1993: Weisman Art Museum, University of Minnesota, Minneapolis 1994: American Center, Paris, France (first building in Paris) 1997: Guggenheim Museum, Bilbao, Spain 2000: The Experience Music Project (EMP), Seattle, Washington 2001: Fisher Center for the Performing Arts at Bard College, Annandale-on-Hudson, NY 2003: Maggie's Centre, Dundee, Scotland 2004: MIT Stata Complex, Cambridge MA 1989-2004: Walt Disney Concert Hall, Los Angeles CA 2004: Jay Pritzker Music Pavillion, Chicago, Illinois 2005: 'MARTa' Museum, Herford, Germany 2007: IAC Building, New York City 2008: Serpentine Gallery Pavilion, Kensington Gardens, London, UK 2011: New York By Gehry, New York City 2014: Biomuseo, Museum of Biodiversity, Panama City, Panama 2014: Louis Vuitton Foundation Museum, Paris, France 2015: Dr Chau Chak Wing Building, University of Technology Sydney (UTS), Gehry's first building in Australia Farhan asim b.arch 3rd year ansal school of architecture
- 3. FRANK GEHRY AS A DECONSTRUCTIVIST