ASSIGNMENT NO.

: 2

"Every building is by its very nature a

sculpture. You can't help it. Sculpture
is a three-dimensional object and so
is a building.“

BY : (3-C)
• JYOTI AHLAWAT
•SAJIDA SHAHNUM
•SNIGDHA KHANEJA
•TSERING CHOEZOM
•GEHRY WAS BORN FRANK OWEN GOLDBERG ON FEBRUARY 28,
1929, IN TORONTO, ONTARIO.

•HE WAS A TRUCK DRIVER IN L.A., GOING TO CITY COLLEGE, AND HE TRIED
RADIO ANNOUNCING, WHICH HE WASN'T VERY GOOD AT.

•DURING THAT TIME, HE BECAME A MEMBER OF ALPHA EPSILON PI.

FRANK OWEN GEHRY
•HE TRIED CHEMICAL ENGINEERING, WHICH HE WASN'T VERY GOOD AT AND “I APPROACH EACH BUILDING AS A
DIDN'T LIKE, THAN HE TRIED SOME ARCHITECTURE CLASSES.
SCULPTURAL OBJECT, A SPATIAL
•GEHRY GRADUATED AT THE TOP OF HIS CLASS WITH A BACHELOR OF CONTAINER, A SPACE WITH LIGHT AND
ARCHITECTURE DEGREE FROM THE UNIVERSITY OF SOUTHERN CALIFORNIA'S
SCHOOL OF ARCHITECTURE IN 1954.
AIR, A RESPONSE TO CONTEXT AND
APPROPRIATENESS OF FEELING AND
• IN 1952 HE MARRIED ANITA SNYDER, AND IN 1956 HE CHANGED HIS NAME
TO FRANK O. GEHRY AT HER SUGGESTION.
SPIRIT. TO THIS CONTAINER, THIS
SCULPTURE, THE USER BEGINS HIS
•HE SPENT TIME AWAY FROM THE FIELD OF ARCHITECTURE IN NUMEROUS
•OTHER JOBS, INCLUDING SERVICE IN THE UNITED STATES ARMY.
BAGGAGE, HIS PROGRAM, AND
INTERACTS WITH IT TO ACCOMMODATE
•IN 2004, HE DESIGNED THE TROPHY FOR THE WORLD CUP OF HOCKEY.
HIS NEEDS. IF HE CAN’T DO THAT, I’VE
FAILED.”

•HE WOULD SPEND TIME DRAWING WITH HIS FATHER AND HIS MOTHER
INTRODUCED HIM TO THE WORLD OF ART. "SO THE CREATIVE GENES WERE THERE“

•HE WAS ENCOURAGED BY HIS GRANDMOTHER, MRS. CAPLAN, WITH WHOM HE

WOULD BUILD LITTLE CITIES OUT OF SCRAPS OF WOOD FROM HER HUSBAND’S
HARDWARE STORE.
HOCKEY WORLD CUP TROPHY
•DRAWN TO THE SOCIAL ISSUES, ARCHITECTURE IS THE PANACEA FOR CITIES
FUTURES
• ALTHOUGH FRANK GEHRY DOES NOT PERSONALLY ASSOCIATE WITH THE MOVEMENT, CRITICS PRIMARILY
CONSIDER HIS DESIGN PHILOSOPHY TO BE DECONSTRUCTIVISM, AN APPROACH CHARACTERIZED BY
FRAGMENTATION AND DISTORTIONS OF TRADITIONAL STRUCTURE, INFORMED BY HIS BELIEF THAT ALL
ARTISTS SHOULD BE TRUE TO THEMSELVES.

• PHILOSOPHICALLY, DECONSTRUCTIVISM COMES AS A CRITICAL RESPONSE TO MODERNISM, IN WHICH THE

FORM OF A BUILDING IS EXPECTED TO FOLLOW STRICTLY FROM ITS FUNCTION. USE OF ASYMMETRY,
EXAGGERATED PROPORTIONS AND UNCONVENTIONAL MATERIALS.

• MODERNIST BUILDINGS, EPITOMIZED BY RECTANGULAR STEEL AND GLASS, ELIMINATION OF

UNNECESSARY DETAIL AND ADHERENCE TO RIGID GEOMETRIC NORMS.

• MODERNIST ARCHITECTURE REFLECTS CONTEMPORARY PHILOSOPHIES REGARDING SOCIAL HARMONY

AND MACHINE-LIKE ORGANIZATION.

• DECONSTRUCTIVISM IS THUS CALLED AS IT ATTEMPTS TO DESTABILIZE MODERNIST THINKING BY

BREAKING UP DESIGN INTO HIGHLY STYLIZED, INDIVIDUAL PARTS.

• THE GUGGENHEIM MUSEUM IN BALBOA, SPAIN, GEHRY’S MOST ICONIC WORK, FEATURES AN EXTERIOR
OF TITANIUM, GLASS AND LIMESTONE THAT IS BOTH RECTANGULAR AND TRADITIONAL AND ALSO
DRAMATICALLY CURVED AND FOLDED.

GEHRY’S ARCHITECTURE HAS UNDERGONE

A MARKED EVOLUTION FROM THE
PLYWOOD AND CORRUGATED-METAL
VERNACULAR OF HIS EARLY WORKS TO THE
DISTORTED BUT PRISTINE CONCRETE OF HIS
LATER WORKS. HOWEVER, THE WORKS
RETAIN A DECONSTRUCTED AESTHETIC
THAT FITS WELL WITH THE INCREASINGLY
DISJOINTED CULTURE TO WHICH THEY
BELONG.
• THE FRAME HOUSES BOTH REGULAR AND IRREGULAR GALLERY SHAPES WITHIN.

• THE BLEND OF CLASSIC AND DISTORTED FIGURES IN GEHRY'S WORK FRAGMENTS BUILDINGS
INTO ELEMENTS VISUALLY AT ODDS WITH ONE ANOTHER AND WITH THEIR RESPECTIVE
ENVIRONMENTS.

• GEHRY INTENDS THIS ELABORATE APPROACH TO DESIGN TO GREATLY IMPRINT HIS BUILDINGS IN
LOCAL CULTURE.

• GEHRY’S STYLE AT TIMES SEEMS UNFINISHED OR EVEN CRUDE, BUT HIS WORK IS CONSISTENT
WITH THE CALIFORNIA ‘FUNK’ ART MOVEMENT IN THE 1960S AND EARLY 1970S, WHICH
FEATURED THE USE OF INEXPENSIVE FOUND OBJECTS AND NON-TRADITIONAL MEDIA SUCH AS
CLAY TO MAKE SERIOUS ART.

• GEHRY HAS BEEN CALLED "THE APOSTLE OF CHAIN-LINK FENCING AND CORRUGATED METAL
SIDING”.

• HOWEVER, A RETROSPECTIVE EXHIBIT AT NEW YORK'S WHITNEY MUSEUM IN 1988 REVEALED

THAT HE IS ALSO A SOPHISTICATED CLASSICAL ARTIST, WHO KNOWS EUROPEAN ART HISTORY
AND CONTEMPORARY SCULPTURE AND PAINTING

GEHRY'S WORK HAS ITS DETRACTORS. SOME HAVE SAID

• THE BUILDINGS WASTE STRUCTURAL RESOURCES BY CREATING

FUNCTIONLESS FORMS.
• THE BUILDINGS ARE APPARENTLY DESIGNED WITHOUT ACCOUNTING
FO THE LOCAL CLIMATE.
• THE SPECTACLE OF A BUILDING OFTEN OVERWHELMS ITS INTENDED
USE, ESPECIALLY IN THE CASE OF MUSEUMS AND ARENAS.
• THE BUILDINGS DO NOT SEEM TO BELONG IN THEIR SURROUNDINGS.
• GEHRY WAS INTERESTED IN THE FORM OF A FISH, AND THE NOTION
OF BRINGING MOVEMENT INTO HIS ARCHITECTURE, IT WAS HIS WAY
OF EXPLORING THE TECHNIQUE OF DOUBLE CURVES
• AS A YOUNG BOY HE HAS MEMORIES OF GOING TO THE
Walt Disney Concert Hall (Interior) - MARKETPLACE WITH HIS GRANDPARENTS AND PURCHASING CARP Port Olympic, Barcelona Spain ,
Frank Gehry - 2003 1992
1922 HOLLYWOOOD BOWL,
AMPHITHEATRE,LOS ANGLES

1989
VITRA DESIGN MEUSEUM,
GERMANY

1991 GEHRY RESIDENCE,

CALIFORNIA,USA

1993
WEISMAN ART MEUSEUM
MINNEAPOLIS,USA
1996
DANCING HOUSE,
CRECZH REPUBLIC

1997 GUGGENHEIM MEUSEUM,

SPAIN

GEHRY TOWER,
SPORT DEPARTMENT
1999
BUILDING,HANOVER,GERMANY

2000

WALT DISNEY CONCRETE HALL ,

LA,USA
2005 MARTE HERFORD,
ART MUSEUM,GERMANY

2004 JAY PRITZKER PAVILLION,

CHICAGO

2007 IAC BUILDING,

INTERACTIVECORP’
S
HEADQUATER,NEW
YORK

2007

GUGGENHIEM ABU DHABI,

UNITED ARAB EMIRATES
2007 LOU RUVO CENTRE FOR BRAIN HEALTH,
CHICAGO

8 SPRUCE STREET,
2011
NEWYORK

2011

NEW WORLD CENTRE,

FLORIDA ,TORONTO
Dancing House in Prague(CZECH REPUBLIC) "Ginger and Fred”
  THE SITE OF GEHRY'S DANCING HOUSE WAS ORIGINALLY OCCUPIED BY A HOUSE INTHE NEO-
RENAISSANCE STYLE FROM THE END OF THE 19TH CENTURY.
 THAT HOUSE WAS DESTROYED DURING BOMBING IN 1945, ITS REMAINS FINALLY REMOVED IN
1960.
 THE CONSTRUCTION STARTED` IN 1994 AND THE HOUSEWAS FINISHED IN 1996.
 THE BUILDING IS AN EXAMPLE OF DECONSTRUCTIVE ARCHITECTURE, WITH AN UNUSUAL
SHAPE.
 IT REFLECTS A WOMAN AND MAN (GINGER ROGERS AND FRED ASTAIR) DANCING TOGETHER.
 CONSTRUCTION IS FROM 99 CONCRETE PANELS EACH OF DIFFERENT SHAPE AND DIMENSION,
EACH THEREFORE REQUIRING A UNIQUE WOODEN FORM.

 THE TOP FLOOR OF DANCING HOUSE IS THE ONLY PART OPEN TO THE
PUBLIC, AND IS HOME TO ONE OF THE CITY'S LEADING RESTAURANTS.
FOR THE REASON ALREADY GIVEN, IT IS CALLED THE GINGER & FRED
RESTAURANT.
 THE DANCING HOUSE HAS TWO CENTRAL BODIES
 THE FIRST IS A TOWER OF GLASS THAT IS CLOSE TO HALF HEIGHT AND IS
SUPPORTED BY CURVED PILLARS, THE SECOND RUNS PARALLEL TO THE
RESTAURENT AREA
RIVER, WHICH IS CHARACTERIZED BY THE MOLDINGS THAT FOLLOW A
WAVY MOTION AND DISTRIBUTED THROUGH THE WINDOWS SO THE
NON-ALIGNED.

“Ginger and Fred”

Dancing on the riverside
PLAN

CUPOLA RESEMBLING HAIRS AREA OPEN TO PUBLIC

 IT REPRESENTS TWO DANCERS FRED ASTAIRE AND GINGER ROGERS – THAT´S WHY IT´S
ALSO CALLED “GINGER AND FRED”.
 THE GLASS TOWER GINGER BENDS AND CLINGS TO THE CONCRETE TOWER FRED,
WHICH HAS A METAL CUPOLA ON THE TOP, REPRESENTING HAIR. THE HOUSE IS AN
EXAMPLE OF A DECONSTRUCTIVE ARCHITECTURE.
 the
GUGGENHIUM
MUSUEM

Frank
O GEHRY
GUGGENHIUM MUSUEM in BILBAO , SPAIN (1997)
 GUGGENHIUM MUSUEM , SPAIN
FRANK GEHRY, 1997
 THE GUGGENHEIM MUSEUM BILBAO IS A MUSEUM OF MODERN AND CONTEMPORARY
ART AND LOCATED IN BILBAO, BASQUE COUNTRY, SPAIN. IT IS BUILT ALONGSIDE THE
NERVION RIVER IN OCTOBER 18, 1997, WHICH RUNS THROUGH THE CITY OF BILBAO TO
THE ATLANTIC COAST.
 THE MUSEUM IS CLAD IN GLASS, TITANIUM AND LIMESTONE.
 RANDOMNESS OF THE CURVES ARE DESIGNED TO CATCH THE LIGHT.
 LOOKS OF THE BUILDING ARE VERY CALM AND UNINTERACTIVE AS THERE
ARE NO WINDOWS BUT BLANK WALLS.
 BRILLIANTLY REFLECTIVE TITANIUM PANELS RESEMBLE FISH SCALES.

ENTRANCE TO THE MUSUEM

FIRST FLOOR PLAN

PLAN

RIVER WALK

PLANS OF GUGGENHIUM MUSUEM , SPAIN

VIEW FROM CAMPO VOLATIN
FOOT BRIDGE
THIRD FLOOR PLAN
 SITED AS IT IS IN A PORT TOWN, IT IS INTENDED TO
RESEMBLE A SHIP.

• EXHIBITION SPACE IS DISTRIBUTED IN 19 GALLERIES.

• TEN HAVING REGULAR SHAPE WITH STONE FINISH , NINE OTHER
HAVE IRREGULAR SHAPE AND HAVE TITANIUM FINISH. ATRIUM SURROUNDED BY EXHIBITION GALLERIES

• THE ATRIUM IS THE REAL HEART OF THE MUSEUM AND ONE

OF THE MOST IDIOSYNCRATIC FEATURES OF GEHRY´S
DESIGN.
• THE ATRIUM´S REMARKABLE HEIGHT (55 M) IS ONE AND
HALF TIMES THAT OF FRANK LLOYD WRIGHT´S GUGGENHEIM
MUSEUM IN NY.

ATRIUM ART GALLERIES EXHIBITION HALL