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FRANK OWEN 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 BRINGS HIS BAGGAGE, HIS PROGRAM,
AND INTERACTS WITH IT TO ACCOMMODATE HIS
NEEDS. IF HE CAN'T DO THAT, I'VE FAILED."
PERSONAL INFORMATION
BORN: IN TORONTO, CANADA IN 1929
B ARCH. FROM UNIVERSITY OF SOUTHERN CALFORNIA CITY PLANNING AT HARVARD GRADUATE UNIVERSITY SCHOOL OF DESIGN ESTABLISHED HIS OWN FIRM APPRENTICED WITH ARCHITECTS VICTOR GRUEN AND PERIERA & LUCKMAN IN LOS ANGELES AND WITH ANDRE REMONDAT IN PARIS INFLUENCE OF TIME ON THOUGHT: DEVELOPED HIS OWN UNIQUE, BUT SOPHISTICATED VERSION OF DESIGNING AFTER SEEING AND EXPERIENCING DIFFERENT STYLES AND TRAVELLING THROUGHOUT HIS LIFE
mr. gehry’s “buildings are powerful essays in primal geometric form and ... materials, and from an aesthetic standpoint
they are among the most profound and brilliant works of architecture of our time.”
- paul goldberger
FRANK O GEHRY is AN EXTREME DECONSTRUCTIVIST
KNOWN FOR MASSIVE, ICONOCLASTIC PROJECTS THAT ATTRACTED ATTENTION AND CONTROVERSY.
CREATOR OF BUILDINGS THAT ARE TOURIST ATTRACTIONS AND ATTRACT CROWDS FROM ALL OVER THE WORLD
DESIGNS BY PLANNING AND PREPARING THE MODEL SIMULTANEOUSLY
IS FASCINATED WITH FISH , THE PRIMARY LIVING ORGANISM FROM WHICH WE HUMANS HAVE EVOLVED
AWARDS AND ACCOLADES
PRITZER ARCHITECTURE PRIZE IN 1989
WOLF PRIZE IN ART (ARCHITECTURE) IN 1992
PRAMEIUM IMPERIALE AWARD IN ARCHITECTURE FROM JAPAN ART ASSOCIATION
DOROTHY AND LILLIAN GISH AWARD FOR LIFETIME CONTRIBUTION TO ARTS IN 1994.
ARNOLD W. BRUNNER MEMORIAL PRIZE IN ARCHITECTURE BY THE AMERICAN ACADEMY
FREDRICH KIESLER PRIZE
FEATURED IN MAJOR PROFESSIONAL PUBLICATIONS AND NATIONAL AND INTERNATIONAL TRADE JOURNALS, NEWSWEEK, TIME MAGAZINE, ART IN AMERICA, THE WALL STREET JOURNAL, THE NEW YORK TIMES, LE MONDE, L’EXPRESS AND FRANKFURTER ALLGEMEINE.
GUGGENHEIM MUSEUM, SPAIN
RANDOMNESS OF THE CURVES ARE DESIGNED TO CATCH LIGHT
RADICALLY SCULPTED WITH ORGANIC CONTOURS
>
> GUGGENHEIM MUSEUM BY NIGHT
WALT DISNEY CONCERT HALL
THE STEEL STRUCTURE CAUSED CONTROVERSY IN LOS ANGELES, THE SHINE OF THE STRUCTURE WAS DULLED DOWN
FOUNDERS ROOM ISLIKE AN INVERTED TULIP
STA
INLESS
STEEL S
AIL
S
LECTURE HALL FOR PRE-CONCERT LECTURES
series of short acoustic walls among the seats. The fanciful colors give the sense of a field of
wildflowers.
Three different kinds of wood create distinct acoustics to produce an ultimate sound quality without
amplification.
THOUGH THE ARCHITECTURE RECEIVED POLARIZED OPINIONS, THE ACOUSTICS OF
TH E HALL WERE WIDELY PRAISED
THE WALT DISNEY CONCERT HALL AT NIGHT
HIS HOUSE
An experimentation with newer materials
HIS PARODICAL MENTION IN THE SIMPSONS
MIT STATA CENTER
MARIA AND RAY ACADEMIC COMPLEX AT MIT, CAMBRIDGE
the Stata is always going to look unfinished. It also
looks as if it's about to collapse. Columns tilt at
scary angles. Walls teeter, swerve, and collide in
random curves and angles. Materials change wherever
you look: brick, mirror-surface steel, brushed
aluminum, brightly colored paint, corrugated metal.
Everything looks improvised, as if thrown up at the
last moment. That's the point. The Stata's appearance is
a metaphor for the freedom, daring, and creativity of
the research that's supposed to occur inside it
difficult to assess how this artistic architecture relates to the public spaces of the street in Cambridge. Or does it
treat the making of the city street and the public realm as less important than the
expression of the individual building
deficient design services and drawings which caused leaks, masonry to crack, mold to grow, drainage to back up, and falling ice and debris to block emergency exits
CO
NC
EP
TS
TH
AT C
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E B
UIL
DIN
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N N
OU
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EN
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ING
OF T
HE C
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EA
DANCING BUILDING AT PRAGUE
PRACTISED WHAT WAS CALLED FRACTAL ARCHITECTURE
FU
RN
ITU
RE D
ES
IGN
INFLUENCE OF TIME ON THOUGHT
DEVELOPED HIS OWN UNIQUE, BUT SOPHISTICATED
VERSION OF DESIGNING AFTER SEEING AND
EXPERIENCING DIFFERENT STYLES AND TRAVELLING
THROUGHOUT HIS LIFE
dO nOT lOOK oVER tHE sHOULDERS, bE yOURSELFaND fIND yOUR oWN cOMFORTABLE wAY.
sLOWLY yOU rEALISE yOU aRE aN eXPERT wITH yOUR wORK.
iT dOESN’T mATTER wITH wHAT sOMEBODY sAYS, nOBODY mAY lIKE iT.bUT u r sTILL iN cONTROL aND sTILL tHE eXPERT iN yOUR wORK
aND oVER tIME iF iTS aNY gOOD, tHEN iT wILL fIND iTS wAY iNTO tHE bIGGER pICTUREoR iT mIGHT eVEN nOT.
bUT wHATS gOOD aND wHATS bAD iN tHE eND. fOR oNES lIFE tHAT’S wHERE yOU gO…..yOU tRY aND rEMAIN sATISFIED rATHER tHAN tRY bEING wHAT tHE oTHER pERSON iS wHICH yOU cANT bE aNYWAY..
