Frank O. Gehry—also known as Frank Owen Goldberg—was born in Toronto, Canada on February 28, 1929. Gehry moved with his family to Los Angeles in 1947. Gehry received his Bachelor of Architecture degree from the University of Southern California in 1954, and he studied City Planning at the Harvard University Graduate School of Design. Gehry’s architectural career has spanned over five decades and produced public and private buildings in America, Europe, and Asia. He is one of the best-known architects of the 20th century. He is famous for his strange twisted shapes and the use of unconventional materials on his buildings. In this research paper, I will discuss the two most popular works of Gehry’s, which are the Guggenheim Museum in Bilbao and the Walt Disney Concert Hall. I’m interested in exploring the design of each museum and the way both building responds to the challenge that Gehry was presented with while building both masterpieces and also the way each building interacts to its surroundings. I will also briefly compare and contrast each building.
Walt Disney Concert Hall and Hotel is a project that Lillian Disney commissioned in memory of her late husband. Gehry’s design was selected in December 1988 over Gottfried Böhm, Hans Hollein, and James Stirling. The concert hall acts as the centerpiece in a plan to rebuild a grand public complex of museums and hotels in the middle of future corporate and private establishments. The goal of the building is to provide the best possible acoustical environment for the orchestra and to create the closest possible connection between the audience and the musicians. The Concert Hall is also aimed to create a powerful relationship between the new building, the existing Music Center Facili...
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...chitecture: Brand-new cities: Frank gehry's bilbao effect looks a lot like 1960s-style urban renewal. The American Scholar 75 (1) (Winter): 113-6, http://www.jstor.org.libaccess.sjlibrary.org/stable/41222543 (accessed 5/9/2014 6:29:37 PM).
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French, Gil. 2004. Los angeles: The walt disney concert hall and new music. Tempo 58 (229) (Jul.): 78-9, http://www.jstor.org.libaccess.sjlibrary.org/stable/3878630(accessed 5/9/2014 6:06:13 PM).
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Gehry, Frank O., and Richard Koshalek. 2003. Symphony : frank gehry's walt disney concert hall . New York: Harry N. Abrams in Association with the Los Angeles Philharmonic.
Lee, Denny. 2007. Bilbao, 10 years later. The New York Times. 2007.
James F. O'Gorman, Dennis E. McGrath. ABC of Architecture. Philadelphia: University of Pennsylvania Press, 1998. Document. October 2013.
Many of Frank Gehry’s early works reflect a refined manipulation of shapes and structures, whereby many of his buildings present distorted shapes or apparent structures. From the Guggenheim museum to the Walt Disney concert hall, Frank Gehry’s architecture is close to none. He cleverly plays with shapes and geometries. In this essay, I shall start with a brief analysis of Gehry’s house and the influences in the design of the house. I shall then analyze the extent to which Frank Lloyd Wright has inspired and influenced Gehry in the design of his house through a comparison with Frank Lloyd Wright’s Jacob’s house.
Willoughby, David. "Chapter 11." The World of Music. 7th ed. New York: McGraw-Hill, 2012. 249-53. Print.
I attended the Los Angeles Philharmonic classical music concert at the Walt Disney Concert Hall on Friday 29 November 2013. The classical concert started at 8:00pm to the enjoyment of the huge audience that had been waiting for this amazing music extravaganza. Classical music concerts always offer magnificent entertainment and the audience in this concert was expectant to derive such entertainment or more. In attendance were Christian Zacharias who was the conductor and Martin Chalifour who was the LA Phil commanding Principal Concertmaster and Bach violin player. In readiness for the concert, I enjoyed a special dinner prepared for the audience. More specifically, LA Phil staffer introduced us to the evening classical concert amidst cheers from the audience. It was such a refreshing and joyous feeling to be part of this audience.
Heinz, Thomas A., Frank Lloyd Wright: Architectural Monographs No 18, St. Martin's Press, New York, 1992.
The “superstar” museum gained this status by considering every important detail during its establishment and initial phases of conversion from royal palace to museum (Gombault, 2002). As the purpose of the building changed, each room addressed new functions with new requirements. Although the function of the Louvre is different from the building’s original intention, the building is still appears dignified and important enough to display priceless artifacts and painting (Steffensen-Bruce, 1998). This consideration was applied in designing the Met. The Met looked towards the South Kensington Museum (Victoria and Albert) and the “ideal role model” due to its extensive collections and international reputation (Heckscher, 1995). The Met found itself in a similar situation to the South Kensington, because it did not have a building or a collection to start with (Heckscher, 1995). When designing museums, architects strived to create monuments that “prepare and educate the mind of the visitor (Steffensen-Bruce, 1998).” Education is an essential function of a museum. Acquiring, preserving, and properly displaying materials, permits a museum to fulfill this duty (Steffensen-Bruce, 1998). For instance, lighting is a factor that affects the manner in which artwork is viewed and can be properly appreciated. When determining the proper lighting for the Louvre, Comte d’Angiviller, strongly believed that natural, overhead lighting was the most effective solution (McClellan, 1994, p. 72). The same determination impacted the decision to add skylights at the Met. During the initial phase, architects Vaux and Mould, added skylights to the upper floor, and windows to the lower floor that provided a natural light solution (Heckscher, 1995). Additionally, glass-roofed courtyards provided “unimpeded light” for displaying
Frank Lloyd Wright and Le Corbusier are two very prominent names in the field of architecture. Both architects had different ideas concerning the relationship between humans and the environment. Their architectural styles were a reflection of how each could facilitate the person and the physical environment. Frank Lloyd Wright’s Robie House, is considered one of the most important buildings in the history of American architecture and Le Corbusier s Villa Savoye helped define the progression that modern architecture was to take in the 20th Century. Both men are very fascinating and have strongly influenced my personal taste for modern architecture. Although Wright and Corbusier each had different views on how to design a house, they also had similar beliefs. This paper is a comparison of Frank Lloyd Wright‘s and Le Corbusier ‘s viewpoints exhibited through their two prominent houses, Frank Lloyd Wright’s Robie House and Le Corbusier’s Villa Savoye.
Di Giulio, Susan. "Architect, mayor, environmentalist: an interview with Jaime Lerner." Progressive Architecture July 1994: 84+. Academic
Sorkin, Michael., Mildred S. Friedman, Frank O. Gehry, Frank O.Gehry Associates. Gehry Talks: architecture + Process. New York: Universe Publishing: Distributed to the U.S trade by St. Martin’s Press, 2002.
...alonen. Symphony: Frank Gehry’s Walt Disney Concert Hall. New York: Harry N. Abrams Inc. Publishers, 2003.
Guangzhou Opera House is a recently completed building by Zaha Hadid Architects. The project is located in the Chinese city of Guangzhou, completed in 2010. The building’s extreme geometry and the spectacular interior have brought about international awareness and appreciations on its design. Followings are two articles that examine and critique the building. One is “L'auditorium asimmetrico (Asymmetrical Auditorium)”from the architecture journal “Abitare”. The other article is “Crazy Angles, Soaring Steel” by Thomas Lane from the architecture Journal “Building”.
The German Pavilion, more commonly known as the Barcelona Pavilion, is one of the most recognizable buildings of the modern period during the early 20th century. It encapsulates every element of modern architecture in one structure. Ludwig Mies van der Rohe, one of the fathers of modern architecture, was the architect of this beautiful building. In this essay I will explore how Mies impacted the modern movement in architecture through his groundbreaking ideas, using the Barcelona Pavilion as a case study. The German Pavilion was designed in 1929 for the International Exposition in Barcelona.
Frank Lloyd Wright has been called “one of the greatest American architect as well as an Art dealer that produced a numerous buildings, including houses, resorts, gardens, office buildings, churches, banks and museums. Wright was the first architect that pursues a philosophy of truly organic architecture that responds to the symphonies and harmonies in human habitats to their natural world. He was the apprentice of “father of Modernism” Louis Sullivan, and he was also one of the most influential architects on 20th century in America, Wright is idealist with the use of elemental theme and nature materials (stone, wood, and water), the use of sky and prairie, as well as the use of geometrical lines in his buildings planning. He also defined a building as ‘being appropriate to place’ if it is in harmony with its natural environment, with the landscape (Larkin and Brooks, 1993).
In the category of modern art, the field that I’m personally fascinated by is architecture. The reason I say this is that architecture is more than just a piece of art, but a masterpiece of the combination of intelligence, physics, and the work of the imagination. I just happened to be in luck when I visited the MOMA because the museum was currently exhibiting a special collection of archives and the designs of the architect Frank Lloyd Wright. The show displayed all the drafts of the most iconic buildings the Frank Lloyd Wright had designed in his career, and this made it very difficult for me to decide which piece I want to write about because every one were very intriguing.
Neher, Erick. "Movie Music At The Philharmonic." Hudson Review 64.4 (2012): 668-674. Academic Search Complete. Web. 3 Dec. 2013.