건축공간론. Dr Dongkuk Chang. Frank O. Gehry. Centre for the Design of Architectural Space Structure

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1 건축공간론 Dr Dongkuk Chang Frank O. Gehry Centre for the Design of Architectural Space Structure

2 Frank Gehry 1929 Born in Toronto, Ontario 1947 Moves with his family to Los Angeles, California BA from UCLA Victor Gruen Associates, LA US Army, Architect in charge of recreational services Harvard University, Graduate School of Design 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 Samsung Museum of Modern Art, Seoul 1997 Guggenheim Museum, Bilbao

3 1978 Gehry House, Santa Monica Works and projects 1990 Schnabel House, Brentwood LA 1982 California Aerospace Museum, Exposition Park LA 1984 Norton House, Venice LA

4 1995 Fred and Ginger Building, Prague Works and projects Samsung Museum of Modern Art, Seoul 1997 Guggenheim Museum, Bilbao

5 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.

6 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 It has been the subject of extensive critical analysis.

7 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.

8 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.

9 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

10 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

11 Bilbao, Spain

12 Bilbao, Spain

13 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 highservice industries.

14 A brief competition 1991 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 Arata Isozaki Coop Himmelblau

15 Schematic models, 1991

16 Frederick R. Weisman Art Museum, Minneapolis, 1990

17 Walt Disney Concert Hall, 1991 The sculptural roof form, with sails acting as light scoops, was reworked into the imagery of a flower unfolding.

18 Guggenheim Museum Bilbao

19 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

20 Waterfront

21 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.

22 Guggenheim Museum Bilbao

23 First floor

24 Second floor

25 Third floor

26 Fourth floor

27 Sections

28 Elevations: south/north

29 Elevations: east/west

30 Main entrance

31 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.

32 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.

33 Structure

34 Atrium

35 The east gallery with sculpture by Richard Serra

36 One of the leaflike galleries

37 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.

38 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.

39 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