frankgehry booklet1 web
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When the other products o a culture have
aded rom human memory, it is the works o
architecture that remain to dene an era or
successive generations. As the 20th century gave
way to the 21st, it was hard to dispute that the
denitive architect o the age was Frank Gehry,
Canadian by birth, a resident o Los Angeles
by choice.
He rst drew notice in his adopted city
with works deploying commonplace industrial
materials in unexpected ways, but he came tointernational prominence with works which
exploded the geometry o traditional archi-
tecture to create a dramatic new orm o ex-
pression. He deployed cutting-edge computer
technology to realize shapes and orms o hith-
erto unimaginable complexity, such as the star-
tling irregularities o his Guggenheim Museum
in Bilbao, Spain, or the Walt Disney Concert
Hall in Los Angeles. In these monumental
buildings, the uninhibited whimsy o his pencil
sketches took shape in powerul structures o
gleaming titanium.
From Switzerland to Japan, rom Santa
Monica to Prague, his buildings have trans-
ormed human expectations o the designedspace. Once mocked or their astonishing origi-
nality, his buildings have become the signature
structures o the challenging times we live in.
Contents
Building
Originality
GehryResidence
Vitra DesignMuseum
GuggenheimMuseum
Walt DisneyConcert Hall
Marqus deRiscal Hotel
New Yorkby Gehry
Inspiring theFuture
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originality at its
Hotel Marques de
Riscal in the Rioja wine
region of Elciego, Spain
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finest
Above: Cleveland Clinic Lou Ruvo Center for Brain
Health in Las Vegas.
Left: The Guggenheim Museum Bilbao, along the
Nervin River in downtown Bilbao, Spain.
Right: The Dancing House in Prague,
Czech Republic.
Much o Gehrys work alls within the style
o Deconstructivism, which is oten reerred
to as post-structuralist in nature or its ability
to go beyond current modalities o structuraldenition. In architecture, its application tends
to depart rom modernism in its inherent criti-
cism o culturally inherited givens such as soci-
etal goals and unctional necessity. Because o
this, unlike early modernist structures, Decon-
structivist structures are not required to reect
specic social or universal ideas, such as speedor universality o orm, and they do not reect
a belie that orm ollows unction.
Gehrys style at times seems unnished or
even crude, but his work is consistent with the
Caliornia unk art movement in the 1960s
and early 1970s, which eatured the use o in-expensive ound objects and non-traditional
media such as clay to make serious art. Gehry
has been called the apostle o chain-link enc-
ing and corrugated metal siding. However, a
retrospective exhibit at New Yorks Whitney
Museum in 1988 revealed that he is also a
sophisticated classical artist, who knows Euro-pean art history and contemporary sculpture
and painting.
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gehry residenCe
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1977
Quite plainly, the Gehry Residence is a
suburban house totally unconcerned with tra-
ditionally pleasing aesthetics. As soon as it wascompleted in 1978 reactions ranged rom hagi-
ography to anathema. Over time, critical reac-
tions mirrored the role the house would play in
the larger canon o contemporary architecture.
A 1979 review by New York imes architecture
critic Paul Goldberger, Hon. AIA, recognized
the house as an extremely successul provoca-tioni not much more.
He called the Gehry Residence the most
signicant new house in Southern Caliornia
in years, admiring its central conceptual con-
ceit: an old house wrapped in jagged panels
o corrugated metal, creating a new band o
patio-like indoor/outdoor space on three sides.Windows were inated into small skylight
atriums, canted and distorted into sculptural
expressions o transparent mass. A thoroughly
collaged composition, plywood and (most ina-
mously) chain-link ence punctuate the houses
rough-hewn exterior. Inside the added indoor/
outdoor space, the oor was asphalt, and the
now-interior wall was still the original painted
(salmon-pink) siding.
Troughout the interior, Goldberger ap-
preciated the abundance o natural light and
the exposed wood beams Gehry revealed ater
he gutted the original house, which commu-
nicate a sense o structural honesty not oten
associated with his work.
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Vitra designMUseUM
1989
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Te Museum opened on November 3,
1989, and pictures o Frank O. Gehrys uncon-
ventional building - his rst work in Europe -circled the globe.
oday, the Vitra Design Museum is inter-
nationally active as a cultural institution that
has made a major contribution to the research
and popular dissemination o design. Te Mu-
seum presents a broad spectrum o topics on
design and culture, with a special emphasis on
urniture and interior design. Its activities en-
compass the production o exhibitions, work-
shops, publications, and museum products,
and the maintenance o an extensive collection,
an archive, and a research library. Te travelling
exhibitions o the Vitra Design Museum areshown at renowned partner institutions around
the world.
With regard to its independence and range
o topics, the Vitra Design Museum is com-
parable to a public museum. From a nancial
standpoint, however, it is largely sel-sucient.
Its partnership with the Vitra corporation con-
sists o a basic annual supplement to the Mu-
seum budget, the use o Vitra architecture, and
organisational co-operation.
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Well beore the Guggenheim Museum
Bilbao opened its doors to the public on Oc-
tober 19, 1997, the new museum was making
news. Te numerous artists, architects, jour-
nalists, politicians, lmmakers, and historians
that visited the building site in the mere our
years o its construction anticipated the suc-
cess o the venture. Frank Gehrys limestone,
glass, and titanium building was hailed by ar-
chitect Philip Johnson as the greatest building
o our time and the pioneering collaborationbetween the Solomon R. Guggenheim Founda-
tion and Basque authorities was seen to chal-
lenge assumptions about art museum collecting
and programming.
Located on the Bay o Biscay, Bilbao is the
ourth largest city in Spain, one o the countrys
most important ports, and a center or manu-acturing, shipping, and commerce. In the late
1980s the Basque authorities embarked on an
gUggenheiM
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ambitious redevelopment program or the city.
By 1991, with new designs or an airport, a
subway system, and a ootbridge, among other
important projects by major international ar-
chitects such as Norman Foster, Santiago Ca-
latrava, and Arata Isozaki, the city planned to
build a rst-class cultural acility. In April and
May o 1991 at the invitation o the Basque
Government and the Diputacin Foral de Bi-
zkaia, Tomas Krens, Director o the Solomon
R. Guggenheim Foundation, met repeatedlywith ocials, signing a preliminary agreement
to bring a new Guggenheim Museum to Bilbao.
An architectural competition led to the
selection o Caliornia-based architect Gehry,
known or his use o unorthodox materials
and inventive orms, and his sensitivity to the
urban environment. Gehrys proposal or thesite on the Nervion River ultimately included
eatures that embrace both the identity o the
Guggenheim Museum and its new home in the
Basque Country. Te buildings glass atrium
reers to the amous rotunda o Frank Lloyd
Wrights New York Guggenheim, and its larg-
est gallery is traversed by Bilbaos Puente de La
Salve, a vehicular bridge serving as one o the
main gateways to the city. In 1992 Juan Ignacio
Vidarte, now Director General o the Guggen-
heim Bilbao, was ormally appointed to oversee
the development o the project and to supervise
the construction. Groundbreaking took placein 1993 and in 1997 a gala dinner and recep-
tion, attended by an international audience and
Spains Queen Soa and King Juan Carlos I,
celebrated the inauguration o the Guggenheim
Museum Bilbao.
MUseUM bilbao
1997
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Walt disneyConCert hall
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2003
Walt Disney Concert Hall, home o the
Los Angeles Philharmonic, was designed to
be one o the most acoustically sophisticatedconcert halls in the world, providing both
visual and aural intimacy or an unparalleled
musical experience.
Trough the vision and generosity o Lil-
lian Disney, the Disney amily, and many other
individual and corporate donors, the city enjoys
one o the nest concert halls in the world, as
well as an internationally recognized architec-
tural landmark.From the stainless steel curves o its strik-
ing exterior to the state-o-the-art acoustics o
the hardwood-paneled main auditorium, the
3.6-acre complex embodies the unique energy
and creative spirit o the city o Los Angeles and
its orchestra.
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MarqUs de risCa
2006
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Beore Frank Gehrys titanium-coied bou-
tique hotel arrived in the village o Elciego,
at the heart o Spains wine-growing La Riojaregion, the town already had a landmark: the
majestic 16th-century church, presiding over
a picturesque valley. But while the churchs
paired towers shine as local highlights, Gehrys
building is more o an international beacon,
commissioned by the local Marqus de Riscal
Winery to promote the growing international
interest in Spanish wine.
Set beside a stream at the edge o town,
Marqus de Riscal is one o the regions oldest
and largest wineries, with buildings dating to
1853. According to Edwin Chan, Gehrys de-
sign partner on the project, the client was ini-
tially interested in a chateau or the 21st cen-
tury, a kind o bed-and-breakast or VIPs, as
part o an overall modernization o its acilities.
Te project eventually grew to 27,000 square
eet to include 43 guest rooms (14 junior suites
in the main building and 29 rooms or suites
in an annex, all managed by an international
luxury chain), a wine-therapy spa, and a restau-
rant run by a local Michelin-starred che.Te hotels site within the winerys com-
pound was challenging. Set behind the historic
stone actories and backed by a steep hill, the
new building does not nestle into the vineyards;
instead, it stands over a paved plaza that covers
a new bottle cave (accessible by direct elevatorsrom the hotel). Gehrys structure rises on three
stone piers to capture views and assert its sculp-
tural presence.
Views o the town and valley successively
unold as you ascend rom the glazed lobby,
with its wine bar and terrace, to the 14 junior
suites on the next oor, the restaurant with its
ample terraces above it, and the guest lounge
with more terraces at the top. Seemingly ca-
sual stacks o rectangular volumes, clad in pale
sandstone like the masonry o the church and
village, house the interior spaces. Floor-to-
ceiling wood-ramed windows, many jutting
rom the corners o the volumes, peek out amid
owing rolls o mirror-nish stainless steel and
pale gold-and-pink-colored titanium (hues
inspired, the architects say, by the gold-mesh
wrapper, silver cap, and purple contents o the
companys bottles, and produced by passing ti-
tanium through an electric current in an acid
bath). Exposed steel structures support these
metal sheets, orming a capricious shading lay-era cascading succession o canopiesover
the stone.
l Vineyard hotel
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At 870 eet tall, New York by Gehry is the
tallest residential tower in the Western Hemi-
sphere and a singular addition to the iconic
Manhattan skyline. For his rst residentialcommission in New York City, master archi-
tect Frank Gehry has reinterpreted the design
language o the classic Manhattan high-rise
with undulating waves o stainless steel that
reect the changing light, transorming the ap-
pearance o the building throughout the day.
Gehrys distinctive aesthetic is carried across
the interior residential and amenity spaces with
custom urnishings and installations.
Gehrys innovative tower design has re-
sulted in over 200 unique oor plans that bring
the drama o the dynamic exterior wall move-
ment into residents private spaces. Where theaade undulates, the residential windows also
move into the apex o the olds, creating ree-
orm bay windows that are tted with seating
or let open to accommodate dining or reading
niches. All interior nishes and xtures have
been selected by Gehry, including cabinetry
crated in his signature honey-colored vertical
grain Douglas Fir.
neW yorkby gehry
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In addition, Gehry designed the sculptural
residential entry door handles and hardware,
which are inspired by organic orms and move-
ment. All residences are nished with whiteoak ooring, tted with solar shades that pro-
vide privacy while preserving views, and ofer
individual washer/dryer units. Building-wide
eatures include water ltration, individually
controlled vertical heating and cooling units,
and large picture windows throughout to
maximize views.
2011
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Edgartistas Illustration offamous Frank Gehry Buildings
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inspiring thefUtUre
Across years o architecture design, Frank
Gehry has become one o the most well
renown and respected men in the business. As
he continues to take on projects and designswell into his 80s, Gehry makes an even larger
mark on the landscapes around the world today.
Ater completing breath taking projects on all
ends o the globe, many young architects look
up to Gehry, while there still remains critics o
his work as there would with any proession.
Overall, the nations that have been blessed with
structures by his design, will orever keep him
in their memories and inspiration or years.
Opus, Hong Kong
IAC, New York
New World Center, Miami
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Credits10.aeccae.comdesign-museum.de
guggenheim.org
laphil.com
archrecord.construction.com
newyorkbygehry.com
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