• 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