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• 건축공간론
Dr Dongkuk Chang
Frank O. Gehry
Centre for the Design of Architectural Space Structure
• Frank Gehry
1929 Born in Toronto, Ontario
1947 Moves with his family to Los Angeles, California
1949-54 BA from UCLA
1953-55 Victor Gruen Associates, LA
1955-56 US Army, Architect in charge of recreational services
1956-57 Harvard University, Graduate School of Design
1967- Frank O. Gehry and Associates, Santa Monica,
California
Taught at USC, Rice, Yale, UCLA
Important works
1968 Hay barn in San Juan de Capistrano
1978 Gehry House, Santa Monica
1982 California Aerospace Museum, Exposition Park LA
1984 Norton House, Venice LA
1990 Schnabel House, Brentwood LA
1995 Fred and Ginger Building, Prague
1995- Samsung Museum of Modern Art, Seoul
1997 Guggenheim Museum, Bilbao
• Works and projects 1978 Gehry House, Santa Monica
1982 California Aerospace Museum,
Exposition Park LA
1984 Norton House, Venice LA
1990 Schnabel House, Brentwood LA
• Works and projects 1995 Fred and Ginger Building, Prague
1995- Samsung Museum
of Modern Art, Seoul
1997 Guggenheim Museum, Bilbao
• Philosophies
• It is difficult to speak of a single Gehry, because there are really several:
-the Gehry who experiments with the perception of objects in perspective and the use in
architecture of cheap and marginal materials such as wire fabric and cardboard;
- the Gehry who introduced figurative elements into architecture on the basis of Clases
Oldenburg’s ironic view of the consumer society and the change in scale of the most
everyday objects;
- the Gehry who adopts the composition strategies of the Russian constructivists to
articulate complex systems based on simple pieces;
- the Gehry who creates buildings of sinuous membranes thanks to the use of NASA
information technology systems, etc.
• Philosophies
• Gehry’s identification with the artistic trends in Los Angeles in the late 1960s centred
around the Ferus Gallery and artists like Ed Moses and Ed Kienholtz.
• The ideas generated in the debates in which he participated there were layered over
constructivist themes which allowed him to bring his own contemporary transformations
into register with these earlier manifestations, and to translate them into architecture.
Gehry has always closely identified with artists and has made a determined effort to
bridge the gap between art and architecture that elsewhere has widened.
• The story of Gehry’s stylistic development in Los Angeles began with his own house
extension in Santa Monica which caused a sensation when Gehry first remodelled it, and
still produced a critical frisson when he reworked it again in 1994. It has been the subject
of extensive critical analysis.
• Philosophies
• Much has been made of Gehry’s iconoclastic skill in this phase of his career, using
unlikely juxtapositions, eccentric compositions and materials not normally used in the way,
or for the purposes, he chooses.
• Much less has been said about his abilities as topographic interpreter, concerned with
the literal definition of topos as the nature of place, and the way that these sensitive
interpretations can conversely be utilized to understand various aspects of the complex
city he first chose to examine.
• California Aerospace Museum, 1982
• The concentration of aerospace industries in
Southern California was seen as a good reason
for locating such a museum in Los Angeles. Its
large-scale sculptural forms, as well as the
soaring interiors that Gehry has produced,
provide a dramatic backdrop for the exhibits, with
high seriousness leavened by wit, through a
series of colliding volumes that manage to be
contextual without seeming to be institutional.
• The overall effect is one of visual disjunction.
The museum was intended to contribute to the
evolving definition and enclosure of Exposition
Park and to the community of museums that is
growing there.
• The museum represents an important marker in
Gehry’s move away from smaller projects; it was
the largest building he had designed up to that
point and is a treasure trove of spatial dynamics,
signs and symbols of the architect’s fragmented,
collage-like technique.
• Guggenheim Museum Bilbao, 1997
• Structural engineer: Skidmore, Owings & Merrill, Chicago
• Mechanical engineer: Cosentini Associates, New York
• Acoustics and audiovision: Mckay, Conant, Brook, Inc., Los Angeles
• Lighting design: Lam Partners, Boston
• Theater technolgy: Peter George Associates, New York
• Curtain wall: Peter Muller Inc., Houston
• Guggenheim Museum
• The Solomon R. Guggenheim Museum in New York, designed by Frank
Lloyd Wright, opened in 1959
•The Peggy Guggenheim Collection in Venice, an eighteenth-century
palazzo
•The Guggenheim Museum SoHo, designed by Arata Isozaki
•The Deutsche Guggenheim Berlin, designed by Richard Gluckman
•The Guggenheim Museum Bilbao, Spain, 1997
• Bilbao, Spain
• Bilbao, Spain
• Bilbao, Spain
• Since the latter part of the
nineteenth century, Bilbao
had been a bustling
industrial and mercantile
community, but in recent
times, in the face of
recession, it has been in
the difficult position of
making a transition to high-
service industries.
• A brief competition
1991
Arata Isozaki
Coop Himmelblau
A brief competition, involving an
American, a European and an
Asian architect; Arata Isozaki
from Japan, Frank Gehry from
America and Viennese team of
Coop Himmelblau
• Schematic models, 1991
• Frederick R. Weisman Art Museum, Minneapolis, 1990
• Walt Disney Concert Hall, 1991
The sculptural roof form, with
sails acting as light scoops,
was reworked into the imagery
of a flower unfolding.
• Guggenheim Museum Bilbao
• Atrium
A piece of the flower, clad in silver-colored
paper, was brought down and placed into
the water garden; here, it took on a bootlike
form.
In a gestural move to enclose the skylight
on top of the hugh gallery, another piece
began to relate the flower to the tower
under development, while involving the
bridge.
Revised model with a square atrium and
galleries in place of the flowerlike skylight
shapes, 1992
Model parts, studies of
the atrium exterior, 1992
• Waterfront
• Competition, final results
• Krens summed up the positives and negatives of the scheme as observed by the
architectural-review committee.
• Gehry’s use of materials characteristics of the industrial site, such as steel and
mortar, was favorably perceived, as was the brining in of water onto the platform.
• The committee commented that the museum noticeably interacted with its visitors
“on a number of interior and exterior planes, such as plazas, vistas, fountains etc.”
• The committee liked the potential for fairly simple large exhibition spaces and the
concept of “the rotunda with its resources and echoes with the Guggenheim in New
York and in Salzburg.”
• Most of all, they liked the engagement with the bridge and the linkage to the
“waterfront/port environment.”
• A subject of controversy was the high reader in the form of a tower. Discussions
circled around the questions of whether the tower should have a function, whether it
might be too excessive in scale, or whether such a dominant presence was desirable
at all. It was not clear from the model where exactly the entrance to the museum
would be.
• Guggenheim Museum Bilbao
• First floor
• Second floor
• Third floor
• Fourth floor
• Sections
• Elevations: south/north
• Elevations: east/west
• Main entrance
• Exterior
• The titanium was a
replacement for lead copper.
He originally planned to use
lead copper but it was outlawed
as a toxic material.
• He believes a year of
exploration was required to get
to where we now are.
• Exterior
•The titanium is thinner than stainless
steel would have been; it is a third of a
millimeter thick and it is pillowy, it
doesn’t lie flat and a strong wind makes
its surface flutter. These are all
characteristics we ended up exploiting
in the use of the material on the building.
• It’s ironic that the stability given by
stone is false, because stone
deteriorates in the pollution of our cities
whereas a third of a millimeter of
titanium is a hundered-year guarantee
against city pollution. We have to
rethink what represents stability.
• Structure
• Atrium
• The east gallery with sculpture by Richard Serra
• One of the leaflike galleries
• On the use of computer
• The Guggenheim Museum Bilbao
would not have stayed within the
construction budget allotted by the
Basque Administration had it not been
for Catia, a computer program
originally developed for the French
aerospace industry, which facilitated
the execution process by saving time
and preventing inaccurate application
of materials.
• Initially, Gehry was resistant to using
the computer in his design process.
The program seemed to limit
architecture to symmetries, mirror
imagery, and simple Euclidean
geometries.
• On the use of computer
• Many of the forms he is developing now are only possible through the computer. Bilbao is a perfect
example. Prior to the development of the computer applications in the office, they would have been
considered something to move away from.
• To Gehry, these ideas have contributed to an irrefutable change in his way of practicing architecture.
• References
• James Steele, Architecture today, Phaidon, 1997
• Francisco Asensio Cerver, Architects of the World, Whitney Library of Design, 1998
• Coosje van Bruggen, Frank O. Gehry: Guggenheim Museum Bilbao, The Solomon R. Guggenheim
Foundation, 1999
• Kurt W. Forster, Frank O. Gehry: Guggenheim Bilbao Museoa, Edition Axel Menges, 1998
• Francesco Dal Co and Kurt W. Forster, Frank O. Gehry: the complete works, The Monacelli Press, 1998