FRANK GEHRY : DECONSTRUCTIVISM

BY:
SHANTANU BORUAH
 DECLARATION
We the undersigned solemnly declare that the project report is based on our own work carried
out during the course of our study under the supervision of Ar. Anurita Bhatnagar.
We assert the statements made and conclusions drawn are an outcome of our research work. We
further certify that:
I. The work contained in the report is original and has been done by us under the supervision of
our faculty.
II. The work has not been submitted to any other Institution for any other
degree/diploma/certificate in this university or any other University of India or abroad.
III. Whenever we have used materials (data, theoretical analysis, and text) from other sources,
we have given due credit to them in the text of the report and giving their details in the
references.
IV. All the above mentioned details are true to our best knowledge.
 FACULTY GUIDE APPROVAL

FRANK GEHRY : DECONSTRUCTIVISM

By

Shantanu Boruah
(A1904018084)

APPROVED BY:
Ar Anurita Bhatnagar
 ACKNOWLEDGEMENT
We would like to express our deepest appreciation to all those who provided us the possibility to
complete this report. A special gratitude to our subject faculty Ar Anurita Bhatnagar whose
contribution in stimulating suggestions and encouragement helped us to finish this report.

We also appreciate the guidance given by other supervisor as well as our friends who helped us
in the overall improvement of this report, their comment and advices were helped us in achieving
our goal.
 TABLE OF CONTENTS
CHAPTER 1. INTRODUCTION
1.1 ABSTRACT .............................................................................................................................................. 7
1.2 AIM ...................................................................................................................................................... 9
1.3 OBJECTIVES .......................................................................................................................................... 10
1.4 METHODOLOGY .................................................................................................................................... 11
CHAPTER 2. FRANK GEHRY ................................................................................................................................... 12
2.1. PERSONAL LIFE ..................................................................................................................................... 30
2.2. CAREER ............................................................................................................................................... 30
2.3. ARCHITECTURAL STYLE........................................................................................................................................30
CHAPTER 3. DECONSTRUCTIVISM
3.1.MODERNISM AND POST MODERNISM...................................................................................................................14
3.2. DECONSTRUCTIVIST PHILOSOPHY ................................................................ ERROR! BOOKMARK NOT DEFINED.
3.3 CONSTRUCTIVISM AND RUSSIAN FUTURISM ................................................... ERROR! BOOKMARK NOT DEFINED.
3.4 CONTEMPORARY ART .............................................................................................. ERROR! BOOKMARK NOT DEFINED.
3.5. COMPUTER AIDED DESIGN ......................................................................... ERROR! BOOKMARK NOT DEFINED.
3.6.CRITICAL RESPONSES ................................................................................. ERROR! BOOKMARK NOT DEFINED.
CHAPTER 4. CASE STUDIES
4.1. GEHRY’S RESIDENCE .............................................................................................................................. 30
4.2. SANTA MONICA PLACE ........................................................................................................................... 30
4.3. WALT DISNEY CONCERT HALL ..............................................................................................................................30
CHAPTER 5. ANALYSIS ........................................................................................................................................ 35
CHAPTER 6. CONCLUSION .................................................................................................................................. 40
 CHAPTER1. INTRODUCTION

Frank Owen Gehry is a Canadian-born American architect and designer, residing in Los Angeles.
A number of his buildings, including his private residence, have become world-renowned attractions.
His works are cited as being among the most important works of contemporary architecture in the
2010 World Architecture Survey, which led Vanity Fair to label him as "the most important architect
of our age".[2]
Gehry's best-known works include the titanium-clad Guggenheim Museum in Bilbao, Spain; Walt
Disney Concert Hall in downtown Los Angeles; Louis Vuitton Foundation in Paris, France; MIT Ray
and Maria Stata Center in Cambridge, Massachusetts; the Vontz Center for Molecular Studies on
the University of Cincinnati campus; Museum of Pop Culture in Seattle; New World Center in Miami
Beach; Weisman Art Museum at the University of Minnesota in Minneapolis; Dancing House in
Prague; the Vitra Design Museum and the MARTa Herford museum in Germany; the Art Gallery of
Ontario in Toronto; the Cinémathèque Française in Paris; and 8 Spruce Street in New York City.
His private residence in Santa Monica, California, jump-started his career. Gehry is also the designer
of the National Dwight D. Eisenhower Memorial.

According to Gehry, an architect’s goal is to engender an uplifting and positive experience

through her design. Gehry attempted this with the Walt Disney Concert Hall, creating a space
in which a reciprocal relationship between the feelings of the musicians and those of the
audience could flourish. He consciously tried to understand what would make performers and
listeners feel comfortable.

He also put thought into the surroundings of the Walt Disney Concert Hall, as he wanted the
building to relate to the neighboring structures. If a building competes with or diminishes its
surrounding community, it fails to promote the inclusiveness that Gehry incorporates into his
personal philosophy.
 1.1. ABSTRACT

Gehry sees the world as a collision of thoughts represented through buildings, music, and art
that is not properly expressed through the simplicity of the neat, clean squares of Modernism.

The white boxes that are the architectural hallmarks of the twentieth century—while
beautiful—can be unfriendly. Gehry sees this kind of architecture as overpowering to the lives
of the people who live in them and instead advocates for buildings and interiors that serve as a
background for life.

According to Gehry, the mission of an architect is clear: “To design something that one would
want to be a part of, something one would want to visit and enjoy in an attempt to improve
one’s quality of life.”

Gehry considers architecture to be the quest to transfer the feelings of humanity through inert
materials. You want to create a feeling or emotional response that is not only comforting but
enlightening.

In its most basic form, architecture is the study and practice of building constructi on. Its
objective to provide safe, study shelter that will last for many years. But architecture can
easily extend beyond mere utility. The most impactful architects design structures that serve
as works of art, as cultural statements that impact and inspire their surrounding communities.
In order to make an artistic and cultural impact, great architects like Frank Gehry cannot be
merely versed in engineering and material properties; they must operate with an actual
philosophy.
 1.2. AIM

To enact a memoir of Frank Gehry’s Architectural Work

 1.3. OBJECTIVES

1. TO PORTRAY FRANK GEHRY’S ARCHITECTURAL WORK

2. TO UNDERSTAND THE CONNECTION TO DECONSTRUCTIVISM
3. TO COMPARE FRANK GEHRY’S CONTRASTING WORK
4. TO ANALYSE FRANK GEHRY’S GENERAL APPROACH TO DESIGN
 1.4. METHODOLOGY

FRANK GEHRY'S LIFE

FRANK GEHRY'S
ARCHITECTURAL DECONSTRUCTIVISM
WORK

CHALLENGES USE OF MATERIALS CHANGES ADOPTED

ANALYSIS

CONCLUSION
 CHAPTER 2. FRANK GEHRY

2.1. PERSONAL LIFE

Gehry was born Frank Owen Goldberg[1] on February 28, 1929, in Toronto, Ontario, to parents Sadie Thelma
(née Kaplanski/Caplan) and Irving Goldberg.[4] A creative child, he was encouraged by his grandmother, Leah
Caplan,[8] with whom he would build little cities out of scraps of wood.[9] With these scraps from her husband's
hardware store, she entertained him for hours, building imaginary houses and futuristic cities on the living
room floor.[4]
In 1947, his family immigrated to the United States, settling in California. Gehry got a job driving a delivery
truck, and studied at Los Angeles City College, eventually to graduate from the University of Southern
California's School of Architecture. During that time, he became a member of Alpha Epsilon Pi.[11] Gehry
graduated with a Bachelor of Architecture degree from the University of Southern California in 1954.[13]
In the fall of 1956, he moved his family to Cambridge, where he studied city planning at the Harvard Graduate
School of Design. He left before completing the program, disheartened and underwhelmed.[14] Gehry's left-
wing ideas about socially responsible architecture were under-realized,[clarification needed] and the final straw occurred
when he sat in on a discussion of one professor's "secret project in progress"—a palace that he was designing
for right-wing Cuban dictator Fulgencio Batista (1901–1973).[4]

2.2. CAREER
Gehry returned to Los Angeles to work for Victor Gruen Associates, to whom he had been apprenticed while
at the USC School of Architecture. In 1957 he was given the chance to design his first private residence at the
age of 28, with friend and old classmate Greg Walsh.
In 1961, he moved to Paris, where he worked for architect Andre Remondet.[16] In 1962, Gehry established a
practice in Los Angeles, which became Frank Gehry and Associates in 1967[9] and then Gehry Partners in
2001.[17] Gehry's earliest commissions were all in Southern California, where he designed a number of
innovative commercial structures such as Santa Monica Place (1980) and residential buildings such as the
eccentric Norton House (1984) in Venice, California.[18]
Among these works, however, Gehry's most notable design may be the renovation of his own Santa Monica
residence.[19] Originally built in 1920 and purchased by Gehry in 1977, the house features a metallic exterior
wrapped around the original building that leaves many of the original details visible.[20] Gehry still resides
there.
In 1989, Gehry was awarded the Pritzker Architecture Prize. The jury cited Gehry as "Always open to
experimentation, he has as well a sureness and maturity that resists, in the same way that Picasso did, being
bound either by critical acceptance or his successes. His buildings are juxtaposed collages of spaces and
materials that make users appreciative of both the theatre and the back-stage, simultaneously revealed."[21]
Though Gehry continued to design other notable buildings in California such as the Chiat/Day Building (1991)
in Venice in collaboration with Claes Oldenburg, which is well known for its massive sculpture of binoculars,
he also began to receive larger national and international commissions. These include Gehry's first European
commission, the Vitra International Furniture Manufacturing Facility and Design Museum in Germany
completed in 1989. This was soon followed by other major commissions including the Frederick Weisman
Museum of Art[22] (1993) in Minneapolis, Minnesota, the Cinémathèque Française[23] (1994) in Paris, and
the Dancing House[24] (1996) in Prague.
His best-received works include several concert halls for classical music, such as the boisterous and
curvaceous Walt Disney Concert Hall (2003) in downtown Los Angeles, which has been the centerpiece of the
neighborhood's revitalization and has been labeled by the Los Angeles Times as "the most effective answer to
doubters, naysayers, and grumbling critics an American architect has ever produced",[26] the open-air Jay
Pritzker Pavilion (2004) in Chicago's Millennium Park,[27] and the understated New World Center (2011)
in Miami Beach, which the LA Times called "a piece of architecture that dares you to underestimate it or write
it off at first glance."[28]
However, in recent years, some of Gehry's more prominent designs have failed to go forward. In addition to
unrealized designs such as a major Corcoran Art Gallery expansion in Washington, DC, and a new
Guggenheim museum near the South Street Seaport in New York City, Gehry was notoriously dropped by
developer Bruce Ratner from the Pacific Park (Brooklyn) redevelopment project and was also dropped in 2014
as the designer of the World Trade Center Performing Arts Center, both in New York City.[39] Nevertheless,
some stalled projects have recently shown progress: after many years and a dismissal, Gehry was recently
reinstated as architect for the Grand Avenue Project in Los Angeles, and though Gehry's
controversial[40][41] [42] design of the National Dwight D. Eisenhower Memorial in Washington, DC, has been
subject to numerous delays during the approval process with the United States Congress, the project was
finally approved in 2014 with a modified design.
Also in 2014, Gehry was commissioned by River LA, formerly known as the Los Angeles River Revitalization
Corporation, a nonprofit group founded by the city of Los Angeles in 2009 to coordinate river policy, to devise
a wide-ranging new plan for the river.[48][49]
Gehry told the French newspaper La Croix in November 2016 that President of France François Hollande had
assured the architect that he could relocate to France if Donald Trump was elected President of the United
States.[51][52] The following month, Gehry said that he had no plans to move.[53] Trump and he exchanged words
in 2010 when Gehry's 8 Spruce Street, originally known as Beekman Tower, was built 1 foot (0.30 m) taller
than the nearby Trump Building, which until then had been New York City's tallest residential building.[52][54]

2.3. ARCHITECTURAL STYLE

Said to "defy categorisation", Gehry's work reflects a spirit of experimentation coupled with a respect for the
demands of professional practice and has remained largely unaligned with broader stylistic tendencies or
movements.[55] With his earliest educational influences rooted in modernism, Gehry's work has sought to
escape modernist stylistic tropes while still remaining interested in some of its underlying transformative
agendas. Continually working between given circumstances and unanticipated materializations, he has been
assessed as someone who "made us produce buildings that are fun, sculpturally exciting, good experiences",
although his approach may become "less relevant as pressure mounts to do more with less".[55]
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
nontraditional media such as clay to make serious art.[56] His works always have at least some element
of deconstructivism.[57] Gehry has been called "the apostle of chain-link fencing and corrugated metal
siding".[58] 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.[56]

CHAPTER 3.DECONSTRUCTIVISM
Deconstructivism is a movement of postmodern architecture which appeared in the 1980s. It gives the
impression of the fragmentation of the constructed building, commonly characterised by an absence of obvious
harmony, continuity, or symmetry.[1] Its name is a portmanteau of Constructivism and "Deconstruction", a form
of semiotic analysis developed by the French philosopher Jacques Derrida. Architects whose work is often
described as deconstructivist (though in many cases the architects themselves reject the label) include Zaha
Hadid, Peter Eisenman, Frank Gehry, Rem Koolhaas, Daniel Libeskind, Bernard Tschumi, and Coop
Himmelb(l)au.[1]
Besides fragmentation, deconstructivism often manipulates the structure's surface skin and deploys non-
rectilinear shapes which appear to distort and dislocate established elements of architecture. The finished
visual appearance is characterized by unpredictability and controlled chaos.
Deconstructivism came to public notice with the 1982 Parc de la Villette architectural design competition, in
particular the entry from Jacques Derrida and Peter Eisenman[3] and the winning entry by Bernard Tschumi, as
well as the Museum of Modern Art’s 1988 Deconstructivist Architecture exhibition in New York, organized
by Philip Johnson and Mark Wigley. Tschumi stated that calling the work of these architects a "movement" or
a new "style" was out of context and showed a lack of understanding of their ideas, and believed that
Deconstructivism was simply a move against the practice of Postmodernism, which he said involved "making
Doric temple forms out of plywood".[4]

3.1. MODERNISM AND POST MODERNISM

The term Deconstructivism in contemporary architecture is opposed to the ordered rationality
of Modernism and Postmodernism. Though postmodernist and nascent deconstructivist architects both
published in the journal Oppositions (published between 1973 and 1984), that journal's contents mark a
decisive break between the two movements. Deconstructivism took a confrontational stance to architectural
history, wanting to "disassemble" architecture.[5] While postmodernism returned to embrace the historical
references that modernism had shunned, possibly ironically, deconstructivism rejected the postmodern
acceptance of such references, as well as the idea of ornament as an after-thought or decoration.
A defining text for both deconstructivism and postmodernism was Robert Venturi's Complexity and
Contradiction in Architecture (1966). It argues against the purity, clarity and simplicity of modernism. With its
publication, functionalism and rationalism, the two main branches of modernism, were overturned as
paradigms. Some Postmodern architects endeavored to reapply ornament even to economical and minimal
buildings, described by Venturi as "the decorated shed." Rationalism of design was dismissed but the
functionalism of the building was still somewhat intact. This is close to the thesis of Venturi's next major
work,[6] that signs and ornament can be applied to a pragmatic architecture, and instill the philosophic
complexities of semiology.
The deconstructivist reading of Complexity and Contradiction is quite different. The basic building was the
subject of problematics and intricacies in deconstructivism, with no detachment for ornament. Rather than
separating ornament and function, like postmodernists such as Venturi, the functional aspects of buildings
were called into question.
Geometry was to deconstructivists what ornament was to postmodernists.
One example of deconstructivist complexity is Frank Gehry's Vitra Design Museum in Weil-am-Rhein, which
takes the typical unadorned white cube of modernist art galleries and deconstructs it, using geometries
reminiscent of cubism and abstract expressionism. This subverts the functional aspects of modernist simplicity
while taking modernism, particularly the international style, of which its white stucco skin is reminiscent, as a
starting point.

3.2. DECONSTRUCTIVIST PHILOSOPHY

Some Deconstructivist architects were influenced by the French philosopher Jacques Derrida. Eisenman was a
friend of Derrida, but even so his approach to architectural design was developed long before he became a
Deconstructivist. For him Deconstructivism should be considered an extension of his interest in radical
formalism. Some practitioners of deconstructivism were also influenced by the formal experimentation and
geometric imbalances of Russian constructivism. There are additional references in deconstructivism to 20th-
century movements:
the modernism/postmodernism interplay, expressionism, cubism, minimalism and contemporary art.
Deconstructivism attempts to move away from the supposedly constricting 'rules' of modernism such as "form
follows function," "purity of form," and "truth to materials."[
The main channel from deconstructivist philosophy to architectural theory was through the
philosopher Jacques Derrida's influence with Peter Eisenman. Eisenman drew some philosophical bases from
the literary movement Deconstruction, and collaborated directly with Derrida on projects including an entry for
the Parc de la Villette competition, documented in Chora l Works. Both Derrida and Eisenman, as well
as Daniel Libeskind[7] were concerned with the "metaphysics of presence," and this is the main subject of
deconstructivist philosophy in architecture theory.
The presupposition is that architecture is a language capable of communicating meaning and of receiving
treatments by methods of linguistic philosophy.[8] The dialectic of presence and absence, or solid and void
occurs in much of Eisenman's projects, both built and unbuilt. Both Derrida and Eisenman believe that the
locus, or place of presence, is architecture, and the same dialectic of presence and absence is found in
construction and deconstructivism.
According to Derrida, readings of texts are best carried out when working with classical narrative structures.
Any architectural deconstructivism requires the existence of a particular archetypal construction, a strongly-
established conventional expectation to play flexibly against.[10]
In addition to Derrida's concepts of the metaphysics of presence and deconstructivism, his notions of trace and
erasure, embodied in his philosophy of writing and arche-writing[12] found their way into
deconstructivist memorials. Daniel Libeskind envisioned many of his early projects as a form of writing or
discourse on writing and often works with a form of concrete poetry. He made architectural sculptures out of
books and often coated the models in texts, openly making his architecture refer to writing. The notions of
trace and erasure were taken up by Libeskind in essays and in his project for the Jewish Museum Berlin

3.3. CONSTRUCTIVISM AND RUSSIAN FUTURISM

Another major current in deconstructivist architecture takes inspiration from the Constructivist and Russian
Futurist movements of the early twentieth century, both in their graphics and in their visionary architecture,
little of which was actually constructed.
Both Deconstructivism and Constructivism have been concerned with the tectonics of making an abstract
assemblage. Both were concerned with the radical simplicity of geometric forms as the primary artistic
content, expressed in graphics, sculpture and architecture. The Constructivist tendency toward purism, though,
is absent in Deconstructivism: form is often deformed when construction is deconstructed. Also lessened or
absent is the advocacy of socialist and collectivist causes.
The primary graphic motifs of constructivism were the rectangular bar and the triangular wedge, others were
the more basic geometries of the square and the circle. In his series Prouns, El Lizzitzky assembled collections
of geometries at various angles floating free in space. They evoke basic structural units such as bars of steel or
sawn lumber loosely attached, piled, or scattered.

3.4. CONTEMPORARY ART

Two strains of modern art, minimalism and cubism, have had an influence on deconstructivism. Analytical
cubism had a sure effect on deconstructivism, as forms and content are dissected and viewed from different
perspectives simultaneously. A synchronicity of disjoined space is evident in many of the works of Frank
Gehry and Bernard Tschumi. Synthetic cubism, with its application of found object art, is not as great an
influence on deconstructivism as Analytical cubism, but is still found in the earlier and more vernacular works
of Frank Gehry. Deconstructivism also shares with minimalism a disconnection from cultural references.
With its tendency toward deformation and dislocation, there is also an aspect
of expressionism and expressionist architecture associated with deconstructivism. At times deconstructivism
mirrors varieties of expressionism, neo-expressionism, and abstract expressionism as well.
The angular forms of the Ufa Cinema Center by Coop Himmelb(l)au recall the abstract geometries of the
numbered paintings of Franz Kline, in their unadorned masses. The UFA Cinema Center also would make a
likely setting for the angular figures depicted in urban German street scenes by Ernst Ludwig Kirchner.
The work of Wassily Kandinsky also bears similarities to deconstructivist architecture. His movement into
abstract expressionism and away from figurative work,[13] is in the same spirit as the deconstructivist rejection
of ornament for geometries.

3.5. COMPUTER AIDED DESIGN

Computer-aided design is now an essential tool in most aspects of contemporary architecture, but the particular
nature of deconstructivism makes the use of computers especially pertinent. Three-dimensional modelling and
animation (virtual and physical) assists in the conception of very complicated spaces, while the ability to link
computer models to manufacturing jigs (CAM - Computer-aided manufacturing) allows the mass production
of subtly different modular elements to be achieved at affordable costs. Also, Gehry is noted for producing
many physical models as well as computer models as part of his design process. Though the computer has
made the designing of complex shapes much easier, not everything that looks odd is "deconstructivist."

3.6. CRITICAL RESPONSES

Since the publication of Kenneth Frampton's Modern Architecture: A Critical History (first edition 1980) there
has been a keen consciousness of the role of criticism within architectural theory. Whilst referencing Derrida
as a philosophical influence, deconstructivism can also be seen as having as much a basis in critical theory as
the other major offshoot of postmodernism, critical regionalism. The two aspects of critical theory, urgency
and analysis, are found in deconstructivism. There is a tendency to re-examine and critique other works or
precedents in deconstructivism, and also a tendency to set aesthetic issues in the foreground. An example of
this is the Wexner Center. Critical Theory, however, had at its core a critique of capitalism and its excess, and
from that respect many of the works of the Deconstructivists would fail in that regard if only they are made for
an elite and are, as objects, highly expensive, despite whatever critique they may claim to impart on the
conventions of design.
Critics of deconstructivism see it as a purely formal exercise with little social significance. Kenneth
Frampton finds it "elitist and detached".[15] Nikos Salingaros calls deconstructivism a "viral expression" that
invades design thinking in order to build destroyed forms; while curiously similar to both Derrida's and Philip
Johnson's descriptions, this is meant as a harsh condemnation of the entire movement.[16] Other criticisms are
similar to those of deconstructivist philosophy—that since the act of deconstructivism is not an empirical
process, it can result in whatever an architect wishes, and it thus suffers from a lack of consistency. Today
there is a sense that the philosophical underpinnings of the beginning of the movement have been lost, and all
that is left is the aesthetic of deconstructivism.[17] Other criticisms reject the premise that architecture is a
language capable of being the subject of linguistic philosophy, or, if it was a language in the past, critics claim
it is no longer.[8] Others question the wisdom and impact on future generations of an architecture that rejects the
past and presents no clear values as replacements and which often pursues strategies that are intentionally
aggressive to human senses.[8]
 CHAPTER 4. CASE STUDIES

4.1. GEHRY RESIDENCE

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.
Gehry, however, knew
something had to be
done in the house before
he moved. His solution
was daring for the 70s,
involved the “balance of
fragment and whole, raw
and refined, new and
old” and from that
moment the controversy
ensued.

Gehry actually kept the

old Dutch colonial
house, but not in a
conventional manner,
the new residence was
built around the old.
Holes were made, walls
were thrown and were rebuilt and the quiet old house became a loud cry contemporary among the
mansions of the astonished neighbors. The neighbors hated him, but that does not change the fact that
the house would become a piece of art intertwined with the architecture.

The architect’s experimentation with new materials is very noticeable, like the new look experienced
in a simple two-story bungalow. The Santa Monica home is not a new house built by the architect,
but a modification of an existing building, changing the shape, extending, adding new materials and
completely changing the appearance.

The American Institute of Architects awarded the Prize in 2012 for 25 years (2012 25 Year Award)
to Gehry House, the home of architect Frank Gehry, being recognized for his contribution to the
history of design and its continuing importance as an architectural landmark for more than two
decades since its construction.

Gehry Residence is located on the corner of 22nd Street and Washington Avenue in Santa Monica,
California, United States. The only view of the house are the trees that surround the site, with
complete privacy, as they close all the gaps above eye level with the exception of the window which
overlooks the garden.

The drawings made by the architect represent its context, the landscape around the house is that of
post-war urbanization. It is surrounded by fields, forests, deserts or grasslands, Gehry’s house sits on
a small lot, a few blocks from an endless shopping avenue, Wilshire Boulevard. His views are full of
home crowd representing “the American dream”.
Even the suburban lot purchased by Gehry was already occupied. A two-story building with pink
tiles, “a small house without words and charming” as the architect called, poking her cute mansard
roof on the horizon of the green suburbs. Instead of pulling, Gehry turned the old house at the base of
his own dream. Cut walls, dropped ceilings, and wove the dismembered remains with a new
architectural framework: industrial shell plywood, glass wire, galvanized metal and metal mesh.

4.1.1. CONCEPT
 “… I loved the idea of leaving the house intact…
I came up with the idea of building a new home
about. We were told there were ghosts in the
house… I decided they were ghosts of cubism.
Windows… I wanted to make them look like
they’re dragging. At night, since the glass is tilted
reflect light… So when you are sitting at this
table all these cars are passing by, you see the
moon in the wrong place… the moon is there but
it reflects here… and you think it’s there and do
not know where the hell are you… ” Frank Gehry

Gehry Residence is a deconstructivist work on a

conventional suburban California house,
remodeled in phases, over decades, from his reworking seminal 1978 original. The house meets
important properties that make it different, however the principle is really hated renewal neighbors
and your own style, it was difficult to understand the deconstructive aspect of the house.

The architect explains: “… Armed with very little money I decided to build a new house around the
old and try to maintain a tension between the two, making one define the other, and making them feel
that the old house was intact within the new, from the outside and from the inside. These were the
basic objectives… ”

4.1.2. FIRST REFORM

Although the house retains a sense minimalist design is full of expressionism and sensitivity is freely
understood as artistic intuition unresolved accident. The palette is anti-high-tech, “high tech”, in
favor of a visual presence that is ordinary and created with “low cost technology”, “cheap tech”.

The new design proposed by the architect surrounds three sides on the ground floor of the old house,
extending it to the street and leaving the exterior virtually intact, barely touched the facades that were
encased in glass cubes, with the exception of the rear facade it was removed to open the rear garden.

Inside were made considerable changes in its two plants. In some places it has stripped the plaster
coating to reveal the framing, exposing the joists and studs. It was renovated in accordance with the
other side, showing the old and new elements. This is especially evident when walking through the
rooms of the house and go through the new doors placed by Gehry and original housing.

The entrance is barely visible amid the salient angles of the exterior, which Gehry created from
wood, glass, aluminum and metal mesh. The apex of the old house looks from inside this mix of
materials, giving the impression that the house is constantly under construction.
The housing is made for people who live and move in it. Gehry uses routes that circulate through the
space to create areas within or rest and motion through space. On the ground floor are located the
kitchen, a living room, two bedrooms, a bathroom and backyard. On the first floor the master
bedroom, a second bedroom, a dressing room, a bathroom and a terrace.

In 1991, due to family growth Gehry, the house had to be expanded. Although Gehry tried to
maintain the same style, which allows the original design, to determine the addition, the house
underwent significant change. The residence became much more “finished”, awakening the angry
voices of those who strongly supported the original deconstructivist aesthetics. Yet the Gehry House
is still a classic California architectural works.

The skylights were designed as separate entities, each with its own identity. None of the skylights
were perceived as connected to each other, any relationship between them is haphazard and
accidental. Nothing is consistent.

4.1.3. SECOND REFORM

The house was reinvented twice by the architect. The second reinvention was in 1992, due to new
requirements. The children were grown, they needed a better family privacy and more room, so
turned the garage into a guest room and a games room whilst adding a pool. Moreover, renewed the
wooden structure that covered the house, missing some details of the first reform.
Gehry said early on that kept only the kitchen window, I wanted to make it look like the “ghost of
Cubism”, it really was a cube without any symbolism. Just a cube, or the ghost of Cubism that tries
to escape from the house and is trapped, not wanting to be there.

4.1.4. SPACES

Gehry used corrugated layers of metal boxes Cubist skylights and windows to create a larger sense of
space and movement implied in the kitchen and dining room. He removed the walls to expose the
wooden structure, which is the method of construction of the building. Before starting the process,
Gehry made a list of the positive and negative qualities of the building:

• Exterior Positive: A giant euphorbia in the backyard

• Interior Positive: plywood walls in the studio, narrow plank floors oak paneled windows

• Negative: the neighborhood is occupied by buildings.

Gehry covered
outside the house
with a new and
unusual skin,
used a wrapping
process, a
montage of
fences around
construction.
Used for the
outer layers of
corrugated sheet metal, with new walls that stand in odd angles and awnings that continue beyond the
house to partially enclose a private courtyard. Two wired glass cubes form a link between the old
house and the new layer.
Along Washington Avenue, a large glass cube looks momentarily interposed between the old and the
new structure of the house, its form echoes the overhead trellis. The cube light flooded kitchen space
while maintaining privacy.

4.1.5. STRUCTURE
The original structure is the conventional two-storey bungalow with framing. Some interior finishes
have been stripped to reveal the support of the structure inside the residence. The bearing wall is
raised inner and outer structural frames wooden support beams, girders and joists.

NEW STRUCTURE

Gehry House is a renewal, in three stages, an

existing suburban building. 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.
It is as if the house had always harbored these
twisted forms inside.

•First stage

In the first stage, the forms twist their way out from the inside. A bucket inclined, for example,
consists of the wooden structure of the original house, breaks through the structure, removing the
layers of the house. As these forms make their way out, take off the skin of the building, exposing the
structure, create a second skin that wraps around the front and the site of the new volume, but
disappears right posterior wall of the house to release her as a stage. After passing through the
structure, forms escape this second skin, but ultimately prevents them from escaping. Therefore, the
first stage operates in the space between the original and its skin wall displaced. This gap is an area
of conflict in the stable differences between interior and exterior, original and added, structure and
facade are questioned. The original farmhouse has become a strange artifact, trapped and distorted by
the forms that have emerged from within it.

•Step second

In the second stage, the structure of the rear wall that is not protected by the skin, operates and planks
come out. The structure almost literally breaks.

•Stage three

In the third stage, the courtyards are filled with shapes that seem to escape the house through the gap
in the back wall, which is then closed. These forms are placed under tension by being twisted
relationship with each other and with the house. Gehry House becomes a monograph with a
complicated relationship between conflict within and between the forms.
4.1.6. MATERIALS

It makes use of unconventional materials such as fences with trellis, glass inner wire and corrugated
metal sheets, wood framing, corrugated steel, plywood and light wood frames.

The hidden idea behind the work of Gehry in what would be his residence is not the deconstruction
of the old house of 1920 and the discovery of his bones. The sculpted shape and semi-industrial raw
materials support the dynamic movement and irregular shapes and fluid.

The kitchen floor is covered with asphalt, suggesting a path to the outside of the original bungalow.

“… I was raised at the beginning of my career with a Viennese master to produce perfection, but in
my first projects, I could not find the office to achieve this perfection. My artist friends, people like
Jasper Johns, Bob Rauschenberg, Ed Kienholz, Claes Oldenburg, were working with very
inexpensive materials, broken wood and paper, and were producing beauty. These were not
superficial details, was rather straightforward, raised the question of what was the beauty. I chose to
use the available jobs, and work with builders and make a virtue of its limitations. The painting had
an immediacy that I wanted for architecture. Explored the processes of building materials to try them
raw emotions and soul. Trying to find the essence of my own expression, I fantasized about being an
artist blank canvas in front of deciding which was the first action. He called it the moment of truth.
The architecture to solve complex problems. We need to understand and use technology, we have to
create buildings that are safe and do not get wet, respectful of its context and its neighbors, and face a
myriad of social responsibility issues, and even customer satisfaction.
But then what? The moment of truth, the composition of elements, selection of forms, scale,
materials, color, finally, all the same issues that face painter and sculptor. The architecture is
definitely an art, and all who practice the art of architecture architects are definitely… “[Gehry,
1989]
 4.2. SANTA MONICA PLACE

Santa Monica Place is an

outdoor shopping
mall in Santa
Monica, California. The mall
is located at the south end of
Santa Monica's Third Street
Promenade shopping district,
two blocks from the beach
and Santa Monica Pier. The
mall spans 3 levels and is
anchored by Nordstrom. The
mall also features a movie
theater, called ArcLight
Cinemas. There are two
vacant anchors that previously
were Century 21, which
closed in December 2020, and Bloomingdale's, which closed in April 2021. The mall's tenant
mix is predominantly upscale, featuring Tiffany & Co., Louis Vuitton, Burberry, Emporio
Armani, and Diane von Fürstenberg.
It underwent a massive, three-year reconstruction process beginning in January 2008[2] and was
re-opened as a modern outdoor shopping mall on August 6, 2010.[3]
Santa Monica Place was one of the first works of architect Frank Gehry and his first shopping
mall, after being rejected from designing The Mall in Columbia, early in his professional career
with Gruen Associates.[4] In the 1990s, both anchor stores changed names. In 1993, the
Robinson's store rebranded as Robinsons-May while The Broadway store rebranded as Macy's in
1996.
The LACMTA E Line terminus
station is located across the street
from the former
Bloomingdale's.[13] In addition,
many Santa Monica Big Blue
Bus routes serve the mall.
The new Santa Monica Place
changes an obsolete, enclosed,
multi-level mall into a dynamic
urban heart that celebrates the
cultural and geographic openness
that makes Santa Monica a great
place to live, work, play and visit.

Commissioned by Macerich to renovate the outdated mall, The Jerde Partnership set out to create
a vibrant and intimate public setting rather than a shopping center. Blending timeless urban
principles that predate conventional malls with its organic approach to retail design, Jerde
carefully and intricately wove the project into the existing city fabric. The firm opened up the
mall by removing the roof, creating generous open spaces, and establishing pedestrian
connections that extend the famous Third Street Promenade and strengthen the surrounding city
core. By incorporating forms, materials, and landscaping found throughout the city, Jerde
enhanced the project's natural fit, both aesthetically and functionally, in the seaside village of
Santa Monica.

The new Santa Monica Place replaces a dead mall with a vibrant, open-air district that fills in a
vital missing piece within thriving downtown Santa Monica. By seamlessly connecting its
popular and diverse surrounding uses, creating new public spaces, and attracting a new caliber of
retail tenants, including new department store anchor concepts, it will become the hub of Santa
Monica and create a new destination in greater Los Angeles.
 4.3. WALT DISNEY CONCERT HALL

The Walt Disney Concert Hall,

designed by the architect Frank Gehry,
opened in 2003 after many years of
gestation.

The history of the building began in

1987 when Lillian Walt Disney, widow
of businessman donates $ 50 million to
start building a philharmonic hall. The
idea was to create a reference point for
music, art and architecture, which position the city of Los Angeles in the cultural level.

The proposed Gehry was chosen after an international competition in which they were submitted
over 70 proposals. The architect imposed its characteristic style, which can be seen in the rest of
his works. While the construction of this building is later, the design was done before
the Guggenheim Bilbao.

Walt Disney Concert Hall is now the permanent headquarters of the Los Angeles Philharmonic.

Located in downtown Los Angeles, on the hill Bunker Hill, United States. It is located next to
the Dorothy Chandler Pavilion, between First Street and Grand Avenue.

4.3.1. CONCEPT

The design represents the style of their creator, architect Frank Gehry, could be considered a
work of art in itself. The extravagance of its forms seems to defy any rules of harmony and
symmetry. The forms are external inspired by a boat with sails drenched.

The building is essentially a shell which consists of a series of interconnected volumes, some
form of orthogonal coated stone and other forms of organic and surfaces covered with a
corrugated metal skin of steel. As a bridge between the different volumes are used glazed
surfaces.
The centerpiece of the interior of the building was designed to represent the hull of a boat. The
idea of the architect was to design a room with an evocative sculptural forms of music, achieving
an intimate connection between the orchestra and audience.

The building also fulfills an important role in urban areas.

4.3.2. SPACES

Inside the corrugated metal shell

and the seeming disorder, is
developing the program in four
functional levels.

The main access is via a large

public space that is generated in
the same spot. The main entrance
connects with the existing
facilities of the Music Center. A
secondary access, located at the
corner formed by the streets
Second Street and Grand
Avenue, provides a direct access
to the gardens.

The hall is accessible from the

street. From there we reach the
various spaces of the complex.
At the field level is located an
area of 3,000 m2 for exhibitions,
along with a restaurant and service areas. On the north side of the level of access and forming a
volume that stands out the set, is located the Founders Room, a space with lounge and cafeteria.
Behind and around the box that makes up the auditorium are located support areas and dressing
rooms. Towards the south side, on a volume prismatic lengthened, the offices are located. The
park has a capacity of almost 2,200 cars and is distributed in 7 levels. From there you can directly
access the interior of the building via escalators.

The most important space within the complex is the auditorium for 2265 people. This room was
designed with extreme care in the acoustic quality. Yasuhisa Toyota of Nagata Acoustics was
responsible for this part together with Gehry. Designed to look like the hull of a ship, the curved
wood ceiling evokes the sails of the boat. The auditorium is equipped with natural light, through
lucarne and a wide window on the back side of the room. The audience is placed around the
orchestra. A body occupies the central position between the blocs of seats in the rear of the stage.
The curves of the ceiling and the provision of internal walls improve the acoustics spreading the
sound and producing more
thoughts, adding warmth and
resonance.

Another important area of the

complex is the multi-purpose hall
Roy and Edna Disney. Is aimed at
the California Institute of Arts
with capacity for 266 spectators. It
has direct access from the street,
located in the basement of the
complex.The building has also
two amphitheaters. The first has 300 seats and is used for children’s shows. The second is capacity
for 120 spectators.
4.3.3. STRUCTURE

To calculate the complex shapes of the curves Walt Disney Concert Hall was used to Catia software.
This allowed us to determine the structure and shape of each piece of steel that covers them.

4.3.3. MATERIALS

To coat the outer surfaces were used corrugated 12,500 pieces of steel together on the outside. No
two equal parts, as each piece takes a unique form of agreement to their location.

In areas outside of regular forms, the stone was used. Glass surfaces function as a liaison between the
various volumes.

The interior of the auditorium and rooms, is lined with fir wood. This is the same type of wood that is
used in the back of violoncelos and violas. Here was used in floors, walls and ceilings.
 CHAPTER 5.ANALYSIS

Frank Gehry is a de-constructivist and one of the most recognizable figures of postmodern
architecture. Postmodern architecture is an architectural movement which has shown in
the mid of the twentieth century, as a reaction against the strict rules, formality, lack of
variation, and ignorance of history and culture of the modern architectural style, which was
at its peak domination at that time. However, it was the first spark of change after the
architect and architectural theorist Robert Venturi has written (Venturi) his book
Complexity and Contradiction in Architecture in 1966 describing modern architecture as a
doctrine and calling for complex and contradictory architecture based on the richness and
ambiguity of modern experience. Venturi called for architecture that is hybrid, diverse,
messy, and compromised, architecture that imbodies unity of inclusion rather than
exclusion. Since then, many architects and pioneers have opened their eyes on the very
diverse and free of obligations architecture that could be made. At that time, the Canadian
architect Frank Gehry was just starting his professional private career, with having his pre-
qualities and the filed freely wide open for contributions, as a result, Gehry succeeded to
set a new dimension of postmodern architecture.

Gehry’s works lay under de-constructivism, which is a late postmodern approach in

architecture that has developed from Semiotics by the French philosopher Jacques Derrida.
Further, it encourages radical freedom of form and the open manifestation of complexity in
a building rather than strict attention to functional concerns and conventional design
elements such as right angles or grids (Merriam-Webster Dictionary). De-constructivism
mainly seeks to expose deep-seated contradictions in a work by looking below its surface
meaning, which means that a thing or a design could have different meanings, it only
depends on how it is being interpreted.

According to Derrida, reading texts that are constructed in a classical way is easier for
deconstruction. Likewise, deconstructivist architecture requires the existence of a definite
archetypal construction, so that it can be deconstructed. Accordingly, the best example of
this technique in Gehry designs is Gehry’s Santa Monica Residence, it has been achieved in
braking and deconstructing the traditional suburban house design by enveloping it with an
unfinished industrial look façade with changing the conventional spatial arrangements and
massing of the existing building. Moreover, by putting the kitchen in the old house
driveway outside the frame of the house, Gehry succeeded in braking the old house
boundaries, resulting in making a collision that brakes the borders between the
inside/outside, interiority/exteriority. This kind of deconstruction of duality is a major
postmodern characteristic.

Another approach which is very obvious in all Gehry designs is the absolute rejection of an
ideal form or a perfect shape for a particular activity, which relates to postmodernism as a
kind of refusal of strict rules of modern architecture, the architecture of typologies.
Instated, Gehry uses the free play approach, creating and designing curvy unconventional
gravity-defying buildings, combined with the use of strange unordinary materials such as
corrugated metal, stainless steel, special types of glass, and even titanium.

In addition, Gehry can also be described as a man of Neo-expressionism. It is very notable

that most of his designs look like unfinished structures, as he thinks that unfinished
structures are more poetic than super precise finished stuff. Moreover, he connects back
this fascination with his obsession of unfinished art paintings in early stages of his life. Neo-
expressionism is a notion that showed in the late twentieth century as a rejection of
modern ideal concepts, and it is considered as a part of postmodern architecture.

The issue of history and place was an important consideration by Gehry in the creating and
designing of The Bilbao effect as people call it, Frank says about Guggenheim “I spent a lot
of time making the building relate to the 19th century street module and then it was on the
river, with the history of the river, the sea, the boats coming up the channel. It was a boat.”
With all what has been mentioned before, I personally consider Frank Gehry among the
First real postmodern architects. When a group of Architects have been distinguished as
Postmodern when they were doing nothing but ordinary mesian buildings covered with a
nostalgic façade, Frank never was a part of this, instead, he created a nonconventional steel
structures that were true buildings with relation between the inside and the outside,
covered with the use of new materials.

CHAPTER 6.CONCLUSION

To conclude, although that Gehry refuses to call himself a de-constructivist or a

postmodernist, his designs are considered as a major contribution in de-construction and
postmodern architecture. Nevertheless, Gehry says that he is not trying to start a new
school of architecture, describing himself only as an architect who is trying to respond to
its time. However, with all this comes the question that, will this fascination and excitement
of design last, having inspired a new generation by the school of Gehry. The twentieths
century has started with Art Nouveau effecting Gaudi, Wright, and the late-period Le
Corbusier with its curvy lines. And in the decades after the world war II, Machines,
Aircrafts, and manufacturing advancements have been the main inspiration for the
modernist architecture. These periods have been pushing many of their fans to the
borderlines of far creation and innovation. As a consequent, we can consider Gehry designs
as an embodiment of future, representing the era of technological advancements and visual
stimulation.
 BIBLIOGRAPHY
CHAPTER 2

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CHAPTER 3

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