I did my final project on the architect Frank Gehry. He seemed very interesting to me and I wanted to learn more about him. In an artistic climate that too often looks backwards rather that toward the future, where retrospectives are more prevalent than risk-taking, it is important to honor the architecture of Frank O. Gehry. His refreshing originality and totally American style, has made Gehry's work highly refined, sophisticated and so adventurous that it really emphasizes the art of architecture.
Frank Gehry is a master architect who is still living, and has greatly changed the face of architecture. He got this title from hard work. He started out small; building "little cities out of wood scrapes as a child. His Grandmother was the one who influenced him to do this.
Frank was born in 1929, in Toronto, and at the age of 18 moved to Los Angeles, California. Gehry attained an architecture degree in 1954 at the University of Southern California. He started out his career in Paris, working for Pereira and Lickman. When he was in Paris his French education was an enormous help to him while working. He studied works by LeCorbusier, Balthasar Neumann, and was attracted by the French Roman churches. In the late 1960's he returned to the United States and founded Frank O. Gehry and Associates. He became famous after he developed plastic furniture. But over the years, Gehry had moved away from the conventional commercial practice to a more artistically directed atelier. For Frank, like most architects, the art of building is a serious and searching business. He pursues his muse with love and frustration, and with a sense of discovery in each undertaking with his exceptional set of skills. He is known for taking chances; he works close to the ed!
ge; he pushes boundaries beyond previous limits. There are times when he misses the mark, and times when the breakthrough achieved is remarkable. He is known fThis Essay is Approved by Our Editor Essays Related to Frank Gehry
The Pritzker Pavilion on opening afternoon, Friday, July 16th, 2004. The huge ribbon across the the sliding glass doors of the stage was cut by steroid-stuffed bodybuilders wielding giant scissors that they were told, emphatically, not to run with. (Okay, actually the ribbon was pasted to the doors and "cut" by being pulled apart when the glass doors opened to the sight and sound of the Grant Park Orchestra, conducted by Carlos Kalmar, playing a Richard Strauss' fanfare, but is that anywhere near as good a story?) The glass doors can also be kept closed to be able to use the stage for events in winter.
The Jay Pritzker Pavilion, designed by Frank Gehry, is the new home for Chicago's Grant Park Symphony, which for nearly seventy years has been providing free summer concerts in downtown Chicago. The name of the bandshell refers to Chicago's Pritzker family, owners of Hyatt Hotels and the Marmon Group. Cindy Pritzker was instrumental in insisting that Gehry be brought to Chicago to design the new bandshell, the architect's first building in the city.
The bandshell, built atop a sublevel muncipal parking garage, is the centerpiece of the city's new $475,000,000 Millennium Park, which was itself constructed partially on the site of an older park that had fallen into massive disrepair, and partially over tracks that were originally built by the Illinois Central Railroad in the early 19th century and that had remained, until Millennium Park's creation, an open trench that separated Michigan Avenue from the city's lakefront.
The bandshell has seating for 4,000, with room for another 7,000 people on the broad lawn behind the fixed seating. The site of the old bandshell, which remains the location for the city's fourth of July concert and numerous pop music festivals, was in most places little more than clumps of grass isolated in great expenses of dirt - a heavy rain and it was Woodstock redux. At least for now, the great lawn of the Pritzker pavilion is a thick uninterrupted carpet of newly laid sod.
A trellis consisting of a cross-stitched sweep of curving steel pipes stretching across the entire width of the seating and lawn areas, defines it as a distinctive space and provides mountings for speakers used by the pavilion' sound system.
The bandshell's great lawn opens off up - and a level up from - Chicago's Michigan avenue, a nearly one mile wall of vintage skyscrapers that includes century-old landmarks from Daniel Burnham (the Railway Exchange Building ) and Louis Sullivan and Dankmar Adler (the Auditorium Building .)
The first design to come from Frank Gehry was a more austere homage to another great Chicago architect, Mies van der Rohe, designer of Crown Hal l on the Chicago's IIT campus and the Seagram Building in New York. Mies was known for the dictum "Less is more" and for seeking to employ modern technology to create an architecture of "almost nothing" - simple, minimal and direct.
Gehry's Chicago client rejected that initial design, and it can be argued that they were less interested in drawing on the full power of Frank Gehry as one of the most innovative and creative architects of our time than they were in getting a Chicago copy of the trademark shiny billowing forms that have helped make his Guggenheim Museum in Bilboa, Spain and Disney Concert Hall in Los Angeles instant tourist sensations for their respective cities. The Chicago bandshell draws heavily on a previous Gehry proposal for rebuilding the deteriorating Hollywood Bowl (the clients in L.A. were even more conservative, and opted instead to incorporate necessary upgrades in a new bandshell that's basically a replica of the one it replaced.) Early on, the great clock of billowing steel that wraps around the stage area was referred to as the "mane", which would have been a perfect simile to MGM's famous Leo the lion, but whose relationship to architecture in Chicago is much more tenuous. Gehry has admitted that while the lower portion of the billowing forms serve to reflect sound out towards the audience, the upper portion is purely decorative.
Gehry's most direct expressive link to the Chicago's historic architecture is actually along the Pritzker pavilion's back elevation. The way he leaves the support structure for the billowing forms exposed both echoes his unshamed use of abject materials like chain link fence in his Santa Monica home, and also evokes the iconic way that, in much of the best of Chicago architecture, form frankly expresses structure.
All caveats are forgotten, however, in the way the Pritzker Pavilion succeeds - ecstatically - in carrying out Gehry's stated goal of creating an architecture that evokes joy. Although Gehry finds the strongest affinity to his work in a number of modern painters, he can also be said to have taken Goethe's description of architecture as "frozen music" to heart. Like Rem Koolhaa's new student center at IIT, he's rejected Miesian austerity in favor of what could be called a new "techno-baroque," which breaks free from rigidly linear forms of Miesian architecture - where the eye can take in the simple, streamlined whole in a single glance - to using contemporary technology to create a modern equivalent of the exuberance of a Baroque church, where sweeping, curving forms and ornate details invite the eye to a long and varied journey of visual delight. Mies's architecture has the puritan purity of Bach, Gehry's work is is more like Vivaldi, teaming with an Italianate love of energy and high spirits.
Frank Gehry also designed the BP Bridge, a snaking stainless steel structure, with natural wood surfaces, that spans and shields the Pritzker Pavilion from the noise of Columbus drive, which runs directly east of Millennium Park, and connects it to other parkland that directly abuts the Chicago lakefront.
East entrance to the BP bridge.
Millennium park entrance to the BP bridge.
Looking toward the Pritzker Pavilion from the BP bridge.
A wider perspective.
Great lawn, trellis, and Pritzker Pavilion
Walking along with the tens of thousands of people coursing through Millennium Park on this, it's opening day, with even the curmudgeons taking unguarded delight not only in the dancing forms of Gehry's bandshell, but in taking pictures of their reflections in Anish Kapoor's Cloud Gate sculpture, and watching their kids run barefoot through Jaume Plensa's Crown Fountain, you feel there may actually still be hope for a successful resistance to the soul-crushing banality of the city's blight of new concrete condo and office towers, and the suburb's devolution into a dehumanized landscape of cinder-block, warehouse-stupid, big-box retailers. The unquestioning worship of a market economy that reduces everything in its path into a commoditized widget is held at bay, the bean-counters momentarily repelled (and at $475,000,000, including massive budget overruns, Millennium Park represents a lot of beans.) The experience of a great city, freely and joyfully shared and enriched by its citizens, again seems a possibility.
© Copyright 2004 Lynn Becker All rights reserved.
On Awarding the Prize
by Ada Louise Huxtable
For Frank Gehry, like most architects, the art of building is a serious and searching business. He pursues his muse with love and frustration, with a sense of discovery in each undertaking, and an exceptional set of skills. At a time when retro reigns, he follows the modernist route of an original vision that postmodern traditionalists have tried so hard to give a bad name. He takes chances; he works close to the edge; he pushes boundaries beyond previous limits. There are times when he misses the mark, and times when the breakthrough achieved alters everyone else's vision as well. And he believes, as most architects do, that it is always the next project that will realize his aims and ideals his own.
For those that work this way—exploring levels of philosophy and practice that renew both the spirit and meaning of an ancient art—there is a quiet, but genuine joy that is the architect's secret elixir. Delight breaks through constantly; there are no gloomy Gehry buildings. One cannot think of anything he has done that doesn’t make one smile. There are the fish, as pure sculpture or useful objects, ornamental or occupied, luminous or glistening, a piscine preoccupation that has led to lamps, anthropomorphic restaurants and skyscraper towers. There is the furniture of corrugated cardboard, a welcome old shoebox presence, ingratiatingly paper-pompous and comfortably user-friendly. There is wit, but no fashionable in-jokes or one-liners; these are light and lively designs and buildings that lift the spirit with revelations of how the seemingly ordinary can become extraordinary by acts of imagination that turn the known into new configurations that engage the mind and eye, that explore unexpected definitions of use and style. For Frank Gehry, these explorations characteristically take place at the point where architecture and sculpture meet in anxious and uneasy confrontation; this is the difficult, dangerous and uncharted area that he has made his own. That he has reconciled art and utility in a handsome, workable and intensely personal synthesis of form and function is his singular achievement. Gehry's work takes architecture a significant step farther as an evolving, challenging and creative art.
But there is more to Gehry's work than an adventurous spirit and original imagery. He combines building elements on a site in a way that is not only intriguingly sculptural but also innovatively contextual, whether it is the small gem of a law school at Loyola University in Los Angeles, an ambitious American cultural center in Paris, or a commercial complex that suddenly sparks a humdrum block. What may look like arbitrary, and to some, off-putting, abstract geometry outside reveals itself inside as a series of unusual and inviting relationships achieved through a thoughtful analysis of the program in terms of a multidimensional concept of sensuously orchestrated space.
If there are many facets to Gehry's work, there are also several Gehrys. There is the media Gehry as defined and promoted by the press: the casual, laid-back Californian whose work is touted as fashionably "pop" or "punk," who uses funny materials—chain link, exposed pipe, corrugated aluminum, utility-grade construction board—in a funky, easy, West Coast way. The image is part of the media-chic of Venice and the seductive charms of Santa Monica, the places he has made his habitat; this is nouveau California at the cutting-edge of style. It is the fashion to admire his offbeat spirit but to wonder how well the work will travel.
And then there is the real Frank Gehry, who is all and none of this: an admirer of the quirky, the accidental and the absurd, tuned in to the transient nature of much contemporary culture, while he is deeply involved, personally and professionally, with the world of serious art and artists. There is a closet elitist, if elitism is equated with a fierce admiration for the great works of art, architecture and urbanism. Above all, he is an obsessive perfectionist engaged in a ceaseless and demanding investigation of ways to unite expressive form and utilitarian function. He practices architecture in the most timeless and sophisticated sense, but with a very special spin.
The spin is that Gehry's work goes to the heart of the art of our time, carrying the conceptual and technological achievements of modernism (as real and instructive as its much better-publicized failures) to the spectacularly enriched vision that characterizes the 1990s. He builds on the liberated "box" that Frank Lloyd Wright broke open forever, and the liberates spaces that Le Corbusier raised to luminous heights. ("Ronchamps humbles us all," he says.) Gehry continues and personalizes the 20th century tradition. This is a kind of architecture ultimately made possible and logical only by modern technologies and lifestyles. He pushes the modern miracle of radically redefined structure and space into sudden bursts of "pure" form—a surprising exterior stair, a sky-lit room that offers as much abstract art as illumination in its crowning construction.
In every case, the building is painstakingly programmed, and the program is the generator, or at least, the co-generator, of the solution. Sometimes the parts are broken down into the "single room" elements that Gehry favors for their plastic possibilities. But the choices are never arbitrary; he does not seek novelty or superficial effect. He does not make sculpture and stuff it with after-the-fact uses. Nor does he sheathe his unconventional forms and spaces in trompe l'oeil masonry to suggest a weight and solidity of construction that are not there. They are wrapped in skins of metal, plywood, composition board or glass for flexibility and appropriateness of scale, for transparency, opacity or reflection, for changes of color, climate and light. As an alchemist of sorts, constantly changing dross into something less than gold but much more than common aluminum, Gehry professes to be unsure of what is ugly and what is beautiful. It is irrelevant; he uses the everyday and ever-present stuff of the expedient and low-cost construction of our immediate environment for surprising aesthetic revelations and unexpected elegance. The cultural references of these materials are as strong as the structural and aesthetic rationale.
Today marks the 82nd birthday of Canadian American architect Frank Gehry. Acclaimed worldwide for his undulating, metallic designs, Gehry was tied to both the deconstructivist and postmodernist movements in architecture.
Gehry founded his own firm in 1962, and he broke with existing Modernist tendencies. As Britannica describes:
Reacting, like many of his contemporaries, against the cold and often formulaic Modernist buildings that had begun to dot many cityscapes, Gehry began to experiment with unusual expressive devices and to search for a personal vocabulary. In his early work he built unique, quirky structures that emphasized human scale and contextual integrity. His early experiments are perhaps best embodied by the “renovations” he made to his own home (1978, 1991–94) in Santa Monica, Calif. Gehry essentially stripped the two-story home down to its frame and then built a chain-link and corrugated-steel frame around it, complete with asymmetrical protrusions of steel rod and glass. Gehry made the traditional bungalow—and the architectural norms it embodied—appear to have exploded wide open.
The Frederick R. Weisman Art Museum, designed by Frank Gehry; © 3841128876/Shutterstock.com
Gehry’s designs captivated the public, and he collected numerous accolades. Commissions such as the Guggenheim Museum in Bilbao, Spain, and the Jay Pritzker Paviliion in Chicago ‘s Millennium Park served as popular tourist draws.
The Guggenheim Museum Bilbao (Spain), designed by Frank O. Gehry; © PixAchi/Shutterstock.com
Name of Student
Name of Professor
12 February 2007
Frank Gehry. An Overview of His Life and Contribution to the World of Architecture Ephraim Owen Goldberg was born in 1929 in Toronto. Canada where he used to make `little cities ' with his grandmother out of wood scrap (Templer 1999. By the year 1947. at the age of 18. his family changed its name to Gehry and then moved to Los Angeles. California. where he took night classes at City College. and then earned his degree in architecture in
br the year 1954 at the age of 25 (Templer 1999. By that time influential architects in America were composed of Raphael Soriano Richard Neutra. and Harwell Harris (Friedman Gehry 9. They were among the people - aside from his grandmother - who influenced Gehry to try his luck on design and architecture. The years after that were troublesome for the young man. working. serving a stint in the Army and studying urban planning for a year at Harvard before dropping out (Templer 1999. In 1961. at the age of 32. he took his first wife and two daughters to Paris. where his career started to become triumphant under the architects Pereira and Lickman (Templer. 1999. and led him to start spending days examining and studying architectural buildings and designs. The year after. Gehry met loads of designers. engineers and architects. so that five years after. was able to set up his firm. Frank O. Gehry and Associates. By the start of the 21st century. he was traveling around Europe. the United Stated. and Asia to some of the world 's most prominent project sites recorded in history. These were about to become the `signature buildings ' of the cities
Gehry 's Starting Career
It was in the `60s when Gehry really started to learn it the systematic way. With a group of Los Angeles artists such as Edward Moses. Robert Irwin. Billy Al Bengston. Chuck Arnoldi. Ron Davis. Larry Bell. and Edward Ruscha (Friedman Gehry 9. he learned to take his hand on different materials and how they react to light. force and texture. He even got his expression of Hollywood through the help of his friends who were members of the said industry. Having been transferred to L .A. only recently. by the `60s Gehry responds to its presence. and expresses its influence in the exuberant cinematic movement that often animates his work (Friedman Gehry 9. By the start of the `70s. his furnitures labeled `Easy Edges. and then `Rough Edges ' later on. became a hit in the market. These were usually chairs. stools. tables. and ottoman that were the first big throws of Gehry. Being driven to California 's natural luminosity and vibrance. especially during springtime. he bought a pink cottage and renovated it to become his first masterpiece that really became a hit. and which has driven lots of spectators everyday despite its being designed under its theme of `privacy. This inexpensive renovation (Templer 1999 ) started his journey in becoming.
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This paper looks at the life of Frank Gehry and his work, focusing on how he is associated with certain industrialized styles seen as representative of Los Angeles architecture from the 1970s and 1980s. It discusses how, even though Gehry represents these home structures to the people of Los Angeles, he also represents the visible face of the city through his structures in other cities, adding to the luster of Los Angeles by contributing to its reputation as an innovative and creative place that influences the rest of the world.
Gehry in Los Angeles
Disney Music Hall
"The Walt Disney Concert Hall was situated very consciously on Bunker Hill, placed in relation to a number of art venues: the Central Library, the three theaters of the Music Center, MOCA (Museum of Contemporary Art), and the Richard D. Colburn School for the Performing Arts. Surrounded by heavily trafficked streets, the Concert Hall literally spills out onto Grand Avenue with its various intriguing convex and concave shapes. The interior of the Hall is encompassed in Douglas fir and gives the impression of a nautical vessel instead of a great musical instrument."Cite this Essay: APA Format
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Frank Gehry creates architecture, such as the Guggenheim Museum, that resemble sculptures.
In many respects, Frank Gehry's now-famous design of the Guggenheim Museum in Bilbao, Spain, looks like a giant, stainless steel sculpture. And Antonio Gaudi's undulating building designs–especially his homes like La Perdrera and Casa Battlo, also seem like gigantic sculptures. (The roof of Casa Battlo roof features a figurative representation about St. George and the Dragon.)
And at the same, time, when it comes to larger sculptures, such as Frank Stella’s massive bronze works, viewers can actually walk in and feel enclosed by the massive metal form. The same is also true of the Washington Monument which is both a sculpture and a shelter.Frank Gehry
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This is an art essay on Frank Gehry, the architect. The project will be biographical and discuss his work. Custom art essays are Paper Masters specialty. Essays on Frank Gehry (architect) discuss his career start in 1960 in Los Angeles. Describe his house and the impact it had on his career. Be sure to include:
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All in all, even despite their differences, architecture and sculpture are two spokes on the same three-dimensional wheel. Any would-be architect should certainly study the rudiments of sculpture in order to learn about how to handle mass, composition and form, while would-be sculptors would also be wise to delve into the study of architecture From it, they could learn about a pragmatic approach to their art.Related Research Paper Topics
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A sample Frank Gehry research paper discusses his career in architectural work.
Frank Gehry was born in Toronto, in the year 1929. He joined the universities of Southern California and Harvard before he started his initial application, which was later succeeded by Gehry & Krueger Incorporation. Gehry, other than adopting the usual viable practice embraced his own style. This is where, with the help of a personal visualization of architecture, he created collage-like work of art out of the collected materials. Instead of constructing buildings, he created informal pieces of a well-designed structure. His architecture has undergone a marked progression from the plywood and grooved metal of his early works to deform but perfect concrete of his untimely works (Gehry, et al, 2003). His works fit well with the progressively more incoherent culture that people belong. It is from the conventional architectural ideas, that Gehry melds proper works of art with detonated aesthetic. Recently, Gehry unites aesthetic bended forms with intricate deconstructive massing accomplishing considerable results.
Frank Gehry is the chief of the Los Angeles Frank O. Gehry & Associates. His designs survey the possibilities inbuilt both in the techniques of putting up and collection architecture. Gehry has won architectural awards of the W. Bnumer of the American Institute of Arts and Sciences and of copious confined and countrywide design prizes. In his creations, Gehry made general use of electronic apparatus, physical sculpts and changed into digital sculpts by means of software and hardware, which has been tailored from the space engineering and medical explorations. He has ended up being the most inventive architect in the entire world. To become a prominent architect, he had constructed his own house in Santa Monica between the year 1977 and 1978. This was after his wife bought a house in bourgeois vicinity and later decided to re-design it to make it more useful.
Gehry was inspired by people like Le Corbusier who influenced his designs in his architectural work. His liberty in making use of new designs inspired Gehry in his study of new ideas related to design and resources. To generate these audacious designs, Gehry makes far-reaching use of the latest electronic equipments. Physical sculpts are distorted into digital sculpts using software and hardware, which has been modified from the space production and medical study. The curves that were found in Le Corbusier’s chapel persuaded Gehry that not all edifices should have direct viewpoints or even have a mechanistic appearance.
Gehry came up with buildings, which were very well built. Some of his popular buildings were the Guggenheim Museum, Bilbao. It is a recent and fashionable sculpture museum in Spain. It was built beside the Nervion River, which runs across the city of Bilbao to the Atlantic Coast. The museum consisted of both the enduring shows marking the works of Spanish and global artists. The curves that are found in this building have been designed in a manner that they come out arbitrarily (Gehry, et al, 2003). The building was opened in 1997 and it later surfaced as the most stunning buildings in the way of de-constructive. Similar to most of Gehry’s works, the structure consisted of fundamentally shaped natural curves. Since it is situated next to a port, it was supposed to be designed in a manner that looked like a ship. In typical Gehry’s fashion, the building is a creation of the period’s expertise. In coming up with the design of the building, Computer Aided Three Dimensional Interactive Application was widely used.
Making use of the computer replication made it easier for Gehry to construct shapes and designs that the architects of the previous epoch, were not able to construct. The museum being an impressive tribute from the river is rather reserved; hence, it does not overcome the traditional environs. It was opened to invigorate the exertion for the city of Bilbao. After it was opened, the city of Bilbao became a famous tourist appeal, which attracted many people in the entire world. It resulted into the construction of other similar buildings such as the Cerritus Millennium Library in California.
Louis Sullivan is considered as America’s first contemporary architect. Other than emulating the historical styles, he came up with his own original structures and facts. The historical proposals were meant for the extensive constructions whereas Sullivan created artistic harmony in lofty buildings. His designs used the stonework walls with terra cotta blueprints. His design was later emulated by other architects. His works formed the basis for his student’s ideas, Frank Lloyd Wright. He alleged that the outer parts of an office should mirror the interior structure and its purpose. His works of architecture were coupled with the Art Nouveau movement in architecture (Morrison, 2007). Part of his finest works of architecture from his last years of work was the banks in small plain settlement. The excellent bank was the National Farmers Bank. Despite the fact that this bank is smaller than the other banks that were skyscrapers, the parts of the bank were clearly articulated. The banking room was a visibly created box, which was shown by a wide blemished glass.
In conclusion, it can be drawn that Gehry was the world’s and America’s popular architect. This was because his was an excellent artist in his work. He came up with buildings that were not similar to the architectural buildings, which were constructed his own original buildings making use of his own materials and design. This was just like Louis Sullivan, who did not imitate the works of the past and instead, he came up with a more defined architectural work. Gehry became successful in his work for he was original and he collected ideas from the early architects. He later united the ideas to come up with a more defined architectural work. His building in Bilbao was one of his finest works, which attracted tourist to the city. The buildings also influence the design of the buildings, which were later constructed in the city. Most of the buildings in Bilbao embraced Gehry’s artistic design.