Table Of Content
Born in Cologne, Germany, Marquardt, a freelance creative director, moved into the house last April. He was six years into his second stint in New York when he heard that friends of a friend would be moving out of the rental unit, and the listing hadn’t yet been announced. “To live in a Gehry house, let alone an older one, is an amazing opportunity,” he says. For the Richard B. Fisher Center, Gehry worked in collaboration with acoustician Yasuhisa Toyota and a team of theater consultants. "The front façade of the building can be interpreted as a theatrical mask that covers the raw face of the performance space. Its abstract forms prepare the visitor to be receptive to experiencing the performances that occur within," Gehry said of his design. A trip to Los Angeles isn’t complete without visiting Walt Disney Concert Hall, one of the city's premier cultural destinations.
Post a comment to this article
Regardless of his intent, Gehry’s design did irritate the neighbors, who saw the unconventional house as an eyesore. Between 1991 and 1992, Gehry expanded the house a second time, converting the garage into a guesthouse, adding a lap pool, and either removing or cladding much of the addition’s exposed wood framing. Critics balked at the latter change, claiming the infamously crude skin was refined, made to appear finished, and thus shifting the whole aesthetic intention.
Chiat/Day Complex (Venice, California)
Nontraditional residential building materials contrasted with traditional neighborhood designs—the wooden picket fence played counterpoint to the corrugated metal and now infamous chain-link walls. The colorful concrete wall became a foundation not for the house structure, but for the front lawn, literally and symbolically connecting the industrial chain link with the traditional white picket fencing. The house, which would come to be called an example of modern deconstructivist architecture, took on the fragmented look of an abstract painting. Navigating between his father as design partner and his mother as client, Sam devised a scheme for a house in two distinct parts. A family room, a kitchen with a vibrant tile floor—a special request from Berta—and a study are tucked behind these major rooms and look toward a rear garden.
A New Exhibition at the MIT Museum Offers Nostalgia for Bygone Architectural Representation
Step Inside Architect Frank Gehry's Santa Monica Dream House - Architectural Digest
Step Inside Architect Frank Gehry's Santa Monica Dream House.
Posted: Wed, 13 Mar 2019 07:00:00 GMT [source]
Frank Gehry is one of these visionaries who has planned and built awe-inspiring structures since the early 1960s. Known for his bold architectural features and unusual shapes, Gehry’s designs transcend the ordinary building and are truly monumental works of art. To remodel his own home in 1978, a middle-aged Frank Gehry borrowed money from friends and limited costs by using industrial materials, such as corrugated metal, raw plywood, and chain-link fencing, which he used as one would enclose a tennis court, a playground, or a batting cage. Architecture was his sport, and Gehry could play by his own rules with his own house. A 60-foot lap pool separates the North House from the smaller South House, which contains two guest rooms and a suite for longer-term visitors, a changing room, a gym, and a large concert room (another request from Frank and Berta).
Within an unassuming facade of unpainted corrugated-metal sheets, the virtually unchanged interior architecture still brims with idiosyncrasies—the appearance of naked studs uncovered by drywall, rooms cut at irregular angles, visible heating and cooling ductwork. From the ground-floor living room, a rectangular opening cuts through the second floor to reveal the almost perpendicular orientation of the skylight on the roof. The award-winning architect has spent more than a half-century disrupting the very meaning of design within architecture. From the iconic Guggenheim Museum Bilbao (which Philip Johnson called “the greatest building of our time”) to the Fondation Louis Vuitton in Paris, Gehry has proven time and again the force that’s produced when whimsical design is done masterfully. When Frank Gehry added a new kitchen to his pink bungalow, he placed the 1950s interior design within a 1978 modern art addition. Sure, there's natural lighting, but the skylights are irregular—some of the windows are traditional and linear and some are geometrically jagged, misshaped as windows in an expressionist painting.
Masterpieces from the Guggenheim Museum Bilbao Collection
I became fascinated with creating a shell around it [that would] define the house by only showing parts of the old house in an edited fashion…. I began to engage the house in a dialogue by cutting away from it, exposing some parts and covering up others.
Gehry House (Santa Monica, California)
However the aesthetic of his buildings are often thought of as Deconstructivist – a movement in postmodern architecture which gives the impression of a fragmented building and is characterized by an absence of harmony, continuity and symmetry. Outside of this, Gehry's buildings are whimsical, daring and bold, and have been praised and criticized equally. Here we take a virtual tour of some of Gehry’s most important works to gain an insight into the creative vision of this groundbreaking architect. Oriented to the northeast and northwest of the entrance foyer, and facing the street, are the dining room and living room, both dominated by heavy, intertwined timber beams that contrast dramatically with large expanses of glass.
Davis Studio and Residence (Malibu, California)
The original farmhouse has become a strange artifact, trapped and distorted by the forms that have emerged from within it. The interior went through a considerable amount of changes on both of its two levels. In some places, it was stripped to reveal the framing, exposing the joists and wood studs. It was repaired according to the addition, showing both old and new elements. This is especially evident when walking through the house’s rooms and passing by new doors placed by Gehry and older ones originally in the house.
With their sons grown and the Gehrys getting older—he turned 90 in February—they began to wonder about the practicality of remaining in their longtime home, contented though they continue to be with it. Gehry, whose international architectural practice for years has left him little opportunity for designing houses, was intrigued by the notion of being his own client again, this time with a house that would work for him and his wife at a more advanced stage of their lives. He produced a design for a site on the edge of Venice, only to abandon it after Berta had some worries about the neighborhood.
Today it is the warm, artfully decorated home that actor Patrick Dempsey and his wife, Jillian, a makeup artist and jewelry designer, share with their three children, 12-year-old daughter Talula and seven-year-old twin sons Darby and Sullivan. Gehry's very non-traditional design of Dancing House was controversial at the time because the house stands out among the Baroque, Gothic and Art Nouveau buildings for which Prague is famous, and in the opinion of some it does not accord well with these architectural styles. The then Czech president, Václav Havel, who lived for decades next to the site, avidly supported this project, however, hoping that the building would become a center of cultural activity. 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.
This also allowed him to tap into a fascination with everyday materials that had begun when he was a child spending time in his grandparents’ hardware store. Both corrugated metal and chain-link were considered ugly industrial fixtures in the L.A. Inspired by contemporary sculpture, Gehry embraced the challenge of proving that art could be made out of anything, even chain-link. He surrounded the bungalow with corrugated steel and “split” it open with an angled skylight. Its striking unconventionality attracted the right attention and lead him to design homes in Southern California during the 1980s.
The art world influenced Gehry—the fragmentation of his architectural design suggests the work of the painter Marcel Duchamp. Like an artist, Gehry experimented with juxtaposition—he placed picket fences next to chain link, walls within walls, and created boundaries with no boundary. He sharpened what we see by contrast, like a character's foil in literature. As the new house enveloped the old house, new and old blurred to become one house. Gehry's success with those high-profile, polished public buildings may not have occurred without his experimentation in 1978 on his own modest bungalow-style house in Santa Monica, California.
Up the simple wooden stairs dotted with exposed nails, the bedroom also serves as a sitting room, furnished with an array of vintage finds, like a 1955 Pierre Jeanneret office chair and Togo lounges. Marquardt opted to place his bed in the second floor’s open, brighter mezzanine, where he says he can be “woken up by the sunlight.” Another set of stairs leads to the roof-deck and its views of palm trees. Gehry’s building along Paris’s rue de Bercy opened in 1994 as the headquarters of the American Center of Paris, but closed a year and a half later. In 2005 it became home to the Cinémathèque Française, a theater and archive of film history. Gehry's building at 8 Spruce Street, New York, which features a rippling, undulating stainless steel facade, has become an iconic landmark that has captured both local and global attention and won critical acclaim. Gehry looked to music for his inspiration when designing the Museum of Pop Culture in Seattle.
No comments:
Post a Comment