Table Of Content
Gehry embraces the unexpected in ways that have justifiably labeled him a deconstructivist architect. To understand Gehry's architecture, we can deconstruct Gehry, beginning with the house he remodeled for his family. The architect’s experimentation with new materials is very noticeable, like the new look experienced in a simple two-story bungalow.
Materials and Tags
The original farmhouse has become a strange artifact, trapped and distorted by the forms that have emerged from within it. The interior went through a considerable amount of changes on both of its two levels. In some places, it was stripped to reveal the framing, exposing the joists and wood studs. It was repaired according to the addition, showing both old and new elements. This is especially evident when walking through the house’s rooms and passing by new doors placed by Gehry and older ones originally in the house.
Spectacular Buildings Designed by Frank Gehry
Nontraditional residential building materials contrasted with traditional neighborhood designs—the wooden picket fence played counterpoint to the corrugated metal and now infamous chain-link walls. The colorful concrete wall became a foundation not for the house structure, but for the front lawn, literally and symbolically connecting the industrial chain link with the traditional white picket fencing. The house, which would come to be called an example of modern deconstructivist architecture, took on the fragmented look of an abstract painting. Navigating between his father as design partner and his mother as client, Sam devised a scheme for a house in two distinct parts. A family room, a kitchen with a vibrant tile floor—a special request from Berta—and a study are tucked behind these major rooms and look toward a rear garden.
Gehry House, Santa Monica, California
The residence became much more "finished" which in turn stirred up the angry voices of those who felt strongly about the original raw deconstructivist aesthetics. Nonetheless the Gehry House is still a classic among California's architectural works. Gehry's design wrapped around three sides of the old house on the ground floor, extending the house towards the street and leaving the exterior of the existing home almost untouched. The interior went through a considerable amount of changes on both if its two levels. In some places it was stripped to reveal the framing, exposing the joists and wood studs. This is especially evident when walking through the rooms of the house and passing by both new doors placed by Gehry and older ones originally in the house.
Olympic Fish Pavilion (Barcelona, Spain)
Deconstructivism is one of the 20th century's most influential architecture movements. Our series profiles the buildings and work of its leading proponents – Eisenman, Gehry, Hadid, Koolhaas, Libeskind, Tschumi and Prix. Although the house was recognised as an important part of an emerging architectural style, the design proved controversial with Gehry's neighbours, with one of them suing him over it.
Grow-at-home furniture
With their sons grown and the Gehrys getting older—he turned 90 in February—they began to wonder about the practicality of remaining in their longtime home, contented though they continue to be with it. Gehry, whose international architectural practice for years has left him little opportunity for designing houses, was intrigued by the notion of being his own client again, this time with a house that would work for him and his wife at a more advanced stage of their lives. He produced a design for a site on the edge of Venice, only to abandon it after Berta had some worries about the neighborhood.
Museum of Pop Culture (Seattle, Washington)
Gehry calls the patio between the two structures the “entertainment plaza”; it too has a stunning view of the ocean. They hope to have other musicians—possibly jazz—come and stay at the pavilion. However, he identified one major downside to the property – the growing trend of apartment construction in the surrounding area. Despite this drawback, Gehry went ahead and purchased the property and transformed it into a remarkable architectural masterpiece that continues to inspire architects and designers around the world.
This also allowed him to tap into a fascination with everyday materials that had begun when he was a child spending time in his grandparents’ hardware store. Both corrugated metal and chain-link were considered ugly industrial fixtures in the L.A. Inspired by contemporary sculpture, Gehry embraced the challenge of proving that art could be made out of anything, even chain-link. He surrounded the bungalow with corrugated steel and “split” it open with an angled skylight. Its striking unconventionality attracted the right attention and lead him to design homes in Southern California during the 1980s.
Up the simple wooden stairs dotted with exposed nails, the bedroom also serves as a sitting room, furnished with an array of vintage finds, like a 1955 Pierre Jeanneret office chair and Togo lounges. Marquardt opted to place his bed in the second floor’s open, brighter mezzanine, where he says he can be “woken up by the sunlight.” Another set of stairs leads to the roof-deck and its views of palm trees. Gehry’s building along Paris’s rue de Bercy opened in 1994 as the headquarters of the American Center of Paris, but closed a year and a half later. In 2005 it became home to the Cinémathèque Française, a theater and archive of film history. Gehry's building at 8 Spruce Street, New York, which features a rippling, undulating stainless steel facade, has become an iconic landmark that has captured both local and global attention and won critical acclaim. Gehry looked to music for his inspiration when designing the Museum of Pop Culture in Seattle.
He poked glass structures through the original house’s exterior to open the interior space, as seen in the accompanying drawing. As a result, a large glass cube appeared lodged between the house’s old and new fabric, flooding the kitchen with light and framing views of the sky and trees above. Gehry wrapped the house in layers of unfinished, frugal materials, including corrugated metal and chain-link, which reflected his relatively limited means at the time.
Like many of Gehry's buildings, the tower was created with the most modern technology available at the time. Similar to the kitchen design, the dining room of the 1978 Gehry House combined a traditional table setting within a modern art container. The original house is embedded with several additions intertwined conflicting structures, being very distorted its original structure. But the strength of the house comes from the feeling that the additions have not been “added” to the site, but that came from inside the house. When Frank Gehry and his wife bought an existing home, built in 1920 in Santa Monica, California, the neighbors did not have the slightest idea that the corner residence would soon become a symbol of deconstructivism.
Frank Gehry, the renowned architect, built his first Santa Monica House in 1978 after thoroughly evaluating a gambrel-roofed Dutch Colonial bungalow. Prior to acquiring the property, Gehry made a comprehensive list of its advantages and disadvantages. On April 5, the Colburn School celebrated the groundbreaking of a 100,000-sq-ft expansion designed by Frank Gehry. Dubbed the Colburn Center, the new building will be located adjacent to Colburn’s Grand Avenue campus. In addition to his long-standing involvement with exhibition design at the LACMA, Gehry has also designed numerous exhibition installations with other institutions.
Frank Gehry is one of these visionaries who has planned and built awe-inspiring structures since the early 1960s. Known for his bold architectural features and unusual shapes, Gehry’s designs transcend the ordinary building and are truly monumental works of art. To remodel his own home in 1978, a middle-aged Frank Gehry borrowed money from friends and limited costs by using industrial materials, such as corrugated metal, raw plywood, and chain-link fencing, which he used as one would enclose a tennis court, a playground, or a batting cage. Architecture was his sport, and Gehry could play by his own rules with his own house. A 60-foot lap pool separates the North House from the smaller South House, which contains two guest rooms and a suite for longer-term visitors, a changing room, a gym, and a large concert room (another request from Frank and Berta).
On the first floor the master bedroom, a second bedroom, a dressing room, a bathroom and a terrace. Canadian-born architect Frank Gehry has spent more than half a century radically changing our ideas about what buildings can be. A number of his projects have become world-renowned attractions and multiple works have been cited as among the most important buildings of contemporary architecture. Gehry doesn’t stick to a particular school of thought, having avoided labelling himself throughout his career.
For the final stage, begun in 1988 – 10 years after the project first started – Gehry added new volumes to the house's backyard. The Gehry House extension was designed to wrap around three sides of the existing building. Continuing our series exploring deconstructivist architecture we look at Gehry House, architect Frank Gehry's radical extension to his home in Santa Monica, California. Gehry’s friend Michael Eisner, for whom he designed a pavilion at the former Disney chairman’s house near Aspen, returned the favor by ordering a custom-made Steinway for the new house’s music room in a color of Frank’s choosing, which turned out to be bright green. Situated just inside the front door, an Irwin light sculpture makes a particularly, and appropriately, engaging gesture of welcome to the Dempseys’ world of natural and man-made wonders. "The Irwin pops and sizzles when you turn it on, and the light levels continually change, so you feel like you’re having a dialogue with it," the actor says.
No comments:
Post a Comment