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FRANK O GEHRY

PRESENTED BY-

ANUSHI SINGHAL

SHIPRA SINGHAL

B.ARCH III YEAR VISEM

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BORN IN TORONTO, CANADA OF A JEWISH PARENTSIN 1929. ALTHOUGH HE IS KNOWN AS ANAMERICAN ARCHITECT.

AT THE AGE OF 17, HE WITH HIS PARENTS MOVED

TO LOS ANGELES WHERE HE STUDIED ART.

RECEIVED HIS BACHELOR OF ARCHITECTUREDEGREE FROM THE UNIVERSITY OF CALIFORNIAAND WENT ON TO STUDY CITY PLANNING ATHARVARD UNIVERSITY’S GRADUATE SCHOOL OF

DESIGN.

IN 1962 HE ESTABLISHED HIS OWN FIRM – FRANKO. GEHRY AND ASSOCIATES INC.

GEHRY BEGAN HIS CAREER DURING THE POST WAR

ERA WHEN FUNCTIONALISM WAS FASHIONABLE. HEHAS HELD ONTO THOSE VALUES, YET AT THE SAMETIME SUBVERTED THEM WITH HIS RADICALTECHNIQUE AND APPROACH.

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GEHRY’S WORK OF THE SEVENTIES TO MID-EIGHTIES IS TERMED AS DECONSTRUCTIVEARCHITECTURE – HE IS SEEN AS TO BE THEFORERUNNER OF THIS MOVEMENT WITH HOUSES INPARTICULAR LOOKING DELIBERATLY UNFINISHEDAND ANTI HI-TECH

.

THROUGHOUT GEHRY’S CAREER HIS ARCHITECTURE

HAS EVOLVED INTO WHAT WE NOW CONSIDER TOBE TYPICALLY GEHRY. IN MUCH OF HIS EARLIER

WORK WE CAN SEE ELEMENTS THAT IN FUTUREWORK BECOMES MORE PRONOUNCED ANDRELEVANT.

USED IN CONJUNCTION WITH HIS HANDS ONMODEL MAKING HE COULD CREATE THE MOST

AMAZING FORMS, KNOWING THAT THERE WASLITTLE COMPROMISE OR SACRIFICE TO BE MADE – FREEING HIM OF EVEN MORE CONSTRAINTS ANDTRADITIONAL VALUES AND BRINGING HISBUILDINGS TO LIFE.

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 ‘GEHRY’S DESIGN – MADE BY HAND – WASDIGITIZED THEN RATIONALIZED BY CATIA TOACHIEVE REPETITION WITHOUT SACRIFICINGFORM.’  

THROUGHOUT GEHRY’S CAREER HIS ARCHITECTUREHAS EVOLVED HIS ART BACKGROUND BECOMINGCLEARLY MORE RELEVANT AS HIS WORKPROGRESSED. HE USES MUCH MORE FLUIDFORMATIONS, YET STILL THE SAME

UNCONVENTIONAL MATERIALS AND METHODOLOGYTYPICAL WITHIN HIS EARLIER PROJECTS.

GEHRY IS CONSIDERED A 'DECONSTRUCTIONIST' -FAIR ENOUGH. THE GUGGENHEIM AT BILBAO,SPAIN, POSSIBLY HIS MASTERSTROKE SO FAR, IS

CERTAINLY DECONSTRUCTIONIST, WITH THE EASILYVIEWABLE SHAPE OF A SEAGOING SHIP BROKEN UPINTO ZOOMY SILVER PLANES. IT MAKES YOU FEELLIKE YOU'RE HEADED OUT ON A VOYAGE.

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GUGGENHEIM MUSEUM, BILBAO, SPAIN

THE GUGGENHEIM AT BILBAO, SPAIN, POSSIBLYHIS MASTERSTROKE SO FAR, IS CERTAINLYDECONSTRUCTIONIST, WITH THE EASILYVIEWABLE SHAPE OF A SEAGOING SHIP BROKEN

UP INTO ZOOMY SILVER PLANES.

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 THE MUSEUMHAS BEENANCHORED INTHE CITYSPACE OFBILBAO LIKE AVAST CIRCUSTENTSURROUNDED

BY ACONGERIE OSCARANVAS,FOR THEVARIETY OF

EVENTSANTICIPATEDTO TAKEPLACE THERE.

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PHOTOGRAPHSHOWINGGLIMMERINGPOLISHEDSURFACES OFTHE MUSEUM.

ATRIUM

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WHAT IS DECONSTRUCTION?

THE ARTIST GORDON MATTA-CLARK, WHO CUTAPART BUILDINGS, AND THE ARCHITECT FRANK O.GEHRY, WHO DESTROYED AND PUT BACK

TOGETHER THE "BOX" IN A NEW WAY, MADE A NAMEFOR THEMSELVES AS THE FOUNDERS OF A NEWSTYLE OF ARCHITECTURE KNOWN AS ‘DECONSTRUCTIVIST ARCHITECTURE’. 

A DECONSTRUCTIVE PROCESS TAKES PLACE

WHENEVER THE EXTERNAL FEATURES OFTRADITIONAL VALUES (AESTHETICS,FUNCTIONALITY) ARE DISMANTLED, EXAMINED,CRITICIZED OR, ABOVE ALL, "INSCRIBED" INTOARCHITECTURE.

DECONSTRUCTION WAS ACTUALLY THEDECONSTRUCTION OF TRADITION.

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HIS WORKS

CHIAT/DAY MAIN STREET, VENICE,CALIFORNIA

LOCATED FOUR BLOCKS FROM THE PACIFIC, THIS

THREE STOREY BUILDING FOR AN ADVERTISINGAGENCY IS ON AN L-SHAPED SITE WHICH WASSUBJECTED TO RIGOROUS LOCAL ZONINGRESTRICTIONS. ITS MOST SURPRISING FEATUREIS THE ENORMOUS PAIR OF BINOCULARS WHICH

SERVES AS THE ENTRANCE TO AN UNDERGROUNDPARKING LOT FOR 300 CARS.

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THE BINOCULORS ARE PART OF THE BUILDING,CONTAINING CONFERENCE OR RESEARCHSPACE.

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SCHNABEL RESIDENCE (1986-89),BRENTWOOD, CALIFORNIA.

THIS PARTICULARLY COMPLEX HOUSE OF ABOUT550 SQUARE METERS, IS CLAD IN STUCCO, COPPER

AND LEAD-COATED COPPER. A LAP POOL ON ONESIDE, AND A SHALLOW LAKE ON ANOTHER, GIVE ANIMPRESSION THAT THE HOUSE IS INTIMATELYRELATED TO WATER. AS IS OFTEN THE CASE INGEHRY’S CALIFORNIA BUILDINGS, SOME OF THE

FORMS SERVE TO SHIELD THE RESIDENTS FROMSUN.

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WALT DISNEY CONCERT HALL

FUN FACTS :

THE EXTERIOR STEEL SKIN SURFACE CONTAINS160,000 SQ FT OF PANELS.

OF 6,100 PANELS, ONLY 2,100 ARE THE SAME.

IF THE 12,000 PIECES WERE LAID END TO END, THESTEEL PIECES WOULD STRETCH 49 MILES.

A 750,000 LB CRANE WAS NEEDED TO ERECT THESTEEL SUPPORT STRUCTURE

THE DISNEY CONCERT HALL HAS EIGHT SKYLIGHTSLOCATED IN THE FOUR CORNERS OF THE MAINAUDITORIUM

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THE WALT DISNEY CONCERT HALL JUMPS OUT AS ASHIMMERING METALLIC BEHEMOTH OF JUTTINGAND CURVING FANTASY. THE PANELS CURVE ANDWRAP AROUND THE BUILDING AS THOUGH THEYARE SHIP SAILS BILLOWING IN THE WIND.

THE ENTRANCE HAS HUGE GLASS DOORS THAT FLIPUP TO MAKE THE LOBBY AN EXTENSION OF THESTREET.

THE CONCERT

HALL IS SITUATEDON HISTORICBUNKER HILL ATTHEINTERSECTION OF

FIRST STREET ANDGRAND AVENUE,ADJACENT TO THEEXISTING MUSICCENTER OF LOS

ANGELES.

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 THESE INCLUDE AN OPEN AND ACCESSIBLEMAIN ENTRANCE, A SYMPATHETIC ANDINCLUSIVE ATTITUDE IN THE BUILDING'SRELATIONSHIP TO THE MUSIC CENTER'S

EXISTING DOROTHY CHANDLER PAVILION, APEDESTRIAN SCALE FRONTAGE ALONG GRANDAVENUE, A GENEROUS AND OPEN BACKSTAGEAREA, AND A LARGE GARDEN. 

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 AUDITORIUM INSIDE