附錄 A:Frank Gehry 個人年表與作品資料
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The Abuse of Architectonics by Decorating in an Era After Deconstructivism
THE ABUSE OF ARCHITECTONICS BY DECORATING IN AN ERA AFTER DECONSTRUCTIVISM DECONSTRUCTION OF THE TECTONIC STRUCTURE AS A WAY OF DECORATION PIM GERRITSEN | 1186272 MSC3 | INTERIORS, BUILDINGS, CITIES | STUDIO BACK TO SCHOOL AR0830 ARCHITECTURE THEORY | ARCHITECTURAL THINKING | GRADUATION THESIS FALL SEMESTER 2008-2009 | MARCH 09 THESIS | ARCHITECTURAL THINKING | AR0830 | PIM GERRITSEN | 1186272 | MAR-09 | P. 1 ‘In fact, all architecture proceeds from structure, and the first condition at which it should aim is to make the outward form accord with that structure.’ 1 Eugène-Emmanuel Viollet-le-Duc (1872) Lectures Everything depends upon how one sets it to work… little by little we modify the terrain of our work and thereby produce new configurations… it is essential, systematic, and theoretical. And this in no way minimizes the necessity and relative importance of certain breaks of appearance and definition of new structures…’ 2 Jacques Derrida (1972) Positions ‘It is ironic that the work of Coop Himmelblau, and of other deconstructive architects, often turns out to demand far more structural ingenuity than works developed with a ‘rational’ approach to structure.’ 3 Adrian Forty (2000) Words and Buildings Theme In recent work of architects known as deconstructivists the tectonic structure of the buildings seems to be ‘deconstructed’ in order to decorate the building’s image. In other words: nowadays deconstruction has become a style with the architectonic structure used as decoration. Is the show of architectonic elements in recent work of -
Press Release Frank Gehry First Major European
1st August 2014 PRESS RELEASE communications and partnerships department 75191 Paris cedex 04 FRANK GEHRY director Benoît Parayre telephone FIRST MAJOR EUROPEAN 00 33 (0)1 44 78 12 87 e-mail [email protected] RETROSPECTIVE press officer 8 OCTOBER 2014 - 26 JANUARY 2015 Anne-Marie Pereira telephone GALERIE SUD, LEVEL 1 00 33 (0)1 44 78 40 69 e-mail [email protected] www.centrepompidou.fr For the first time in Europe, the Centre Pompidou is to present a comprehensive retrospective of the work of Frank Gehry, one of the great figures of contemporary architecture. Known all over the world for his buildings, many of which have attained iconic status, Frank Gehry has revolutionised architecture’s aesthetics, its social and cultural role, and its relationship to the city. It was in Los Angeles, in the early 1960s, that Gehry opened his own office as an architect. There he engaged with the California art scene, becoming friends with artists such as Ed Ruscha, Richard Serra, Claes Oldenburg, Larry Bell, and Ron Davis. His encounter with the works of Robert Rauschenberg and Jasper Johns would open the way to a transformation of his practice as an architect, for which his own, now world-famous, house at Santa Monica would serve as a manifesto. Frank Gehry’s work has since then been based on the interrogation of architecture’s means of expression, a process that has brought with it new methods of design and a new approach to materials, with for example the use of such “poor” materials as cardboard, sheet steel and industrial wire mesh. -
Anfahrt DE.Pdf
Wie erreiche ich den Vitra Campus? A5 Karlsruhe / A5 Freiburg Ausfahrt / Exit / Sortie A35 B3 Weil am A35 Strassburg / Strasbourg Rhein Euro E35 Airport Ausfahrt / Exit / Sortie Rö Basel Mulhouse / Freiburg me rstras se Vitra Campus Müllheimer Str. Bahnhof / Zentrum Train station / Centre Gare / Centre Badischer Bahnhof Claraplatz 55 Rhein / Rhine / Rhin Basel / Bâle Zug / Train Tram Bus Fussweg / Footpath / A2/A3 Chemin pédestre 8 2 Landesgrenze / A2 Bern / Berne National border / Bahnhof SBB A3 Zürich / Zurich Frontière nationale Mit den öffentlichen Verkehrsmitteln Euroairport Basel/Mulhouse Kontakt & Bus Linie 50 bis Bahnhof Basel SBB (Fahrtzeit ca. 15 Minuten), Öffnungszeiten von Basel Badischer Bahnhof umsteigen in Tram Linie 8 bis Haltestelle „Weil am Rhein Bus Linie 55 bis Haltestelle „Vitra“ (Fahrtzeit ca. 15 Minuten) Bahnhof/Zentrum“, von dort zu Fuss der Beschilderung Vitra Vitra Campus oder mit der Deutschen Bahn nach Weil am Rhein (eine Campus entlang Müllheimer Str. folgen (Dauer ca. 15 Minuten, Charles-Eames-Str. 2 Haltestelle, Fahrzeit ca. 5 Minuten), von dort zu Fuss der Entfernung ca. 1 km) D-79576 Weil am Rhein Beschilderung Vitra Campus entlang Müllheimer Str. folgen +49 (0)7621 702 3500 (Dauer ca. 15 Minuten, Entfernung ca. 1 km) [email protected] Mit dem PKW www.vitra.com/campus von Bahnhof Basel SBB, Barfüsserplatz, Claraplatz, Kleinhüningen aus Deutschland Mo-So 10-18 Uhr Tram Linie 8 bis Haltestelle „Weil am Rhein Bahnhof/Zentrum“, Autobahn A5 Karlsruhe-Basel, Ausfahrt 69 Weil am Rhein, links 24. Dezember 10-14 Uhr von dort zu Fuss der Beschilderung Vitra Campus entlang abbiegen, Beschilderung Vitra Design Museum folgen Müllheimer Str. -
Frank Gehry Biography
G A G O S I A N Frank Gehry Biography Born in 1929 in Toronto, Canada. Lives and works in Los Angeles, CA. Education: 1954 B.A., University of Southern California, Los Angeles, CA. 1956 M.A., Harvard University, Cambridge, MA. Select Solo Exhibitions: 2021 Spinning Tales. Gagosian, Beverly Hills, CA. 2016 Fish Lamps. Gagosian Gallery, Rome, Italy. Building in Paris. Espace Louis Vuitton Venezia, Venice, Italy. 2015 Architect Frank Gehry: “I Have an Idea.” 21_21 Design Sight, Tokyo, Japan. 2015 Frank Gehry. LACMA, Los Angeles, CA. 2014 Frank Gehry. Centre Pompidou, Paris, France. Voyage of Creation. Louis Vuitton Foundation, Paris, France. Fish Lamps. Gagosian Gallery, Athens, Greece. Fish Lamps. Gagosian Gallery, Hong Kong, China. 2013 Fish Lamps. Gagosian Gallery, Davies Street, London, England. Frank Gehry At Work. Leslie Feely Fine Art. New York, NY. Fish Lamps. Gagosian Gallery, Paris Project Space, Paris, France. Frank Gehry at Gemini: New Sculpture & Prints, with a Survey of Past Projects. Gemini G.E.L. at Joni Moisant Weyl, New York, NY. Fish Lamps. Gagosian Gallery, Beverly Hills, CA. 2011 Frank Gehry: Outside The Box. Artistree, Hong Kong, China. 2010 Frank O. Gehry since 1997. Vitra Design Museum, Rhein, Germany. Frank Gehry: Eleven New Prints. Gemini G.E.L. at Joni Moisant Weyl, New York, NY. 2008 Frank Gehry: Process Models and Drawings. Leslie Feely Fine Art, New York, NY. 2006 Frank Gehry: Art + Architecture. Art Gallery of Ontario, Toronto, Canada. 2003 Frank Gehry, Architect: Designs for Museums. Weisman Art Museum, Minneapolis, MN. Traveled to Corcoran Art Gallery, Washington, D.C. 2001 Frank Gehry, Architect. -
박물관의 비정형 건축형태와 중심공간과의 상관성에 관한 연구 a Study on Correlation Between Atypical Architecture Classification and Main Public Space of the Museums
https://doi.org/10.5392/JKCA.2021.21.03.088 박물관의 비정형 건축형태와 중심공간과의 상관성에 관한 연구 A Study on Correlation between Atypical Architecture Classification and Main Public Space of the Museums 박상준 신라대학교 실내건축디자인전공 Sang-Jun Park([email protected]) 요약 본 연구는 박물관 건축의 작품 중 특별 전시의 기능을 제외한 상설전시가 주를 이루는 박물관을 중심으로 하였다. 사례연구를 통해 나타난 정형, 비정형, 세그먼트, 사선형의 형태를 기준으로 하여, 164건의 작품사례 에 적용한 결과 건축형태를 비정형, 정형, 반정형, 세그먼트, 사선형, 선형으로 재분류 하고, 박물관 건축 형태 와 중심 공간과의 상관성의 유무를 유추함으로써 비정형 건축형태와 중심공간과의 관계가 성립하는가를 도출 하고자 다음과 같이 내용을 정리하였다. 전체적으로 대부분 비정형박물관건축형태와 일치하는 중심공간의 비 정형 형태로서 92.7% 분포도를 나타났다. 결과적으로 전반적으로 박물관 비정형 건축형태가 다수 나타났으며 정형보다는 비정형 건축형태에 있어서 중심공간과의 상관성이 성립되는 것으로서 향후 박물관 건축형태는 비 정형이 지속적으로 발전 할 것으로 추정되고 중심 공간 실내건축 설계는 건축형태와의 상관성을 고려하여 설 계를 지향하는 기초적 근거자료로서 제시하고자 한다. ■ 중심어 :∣박물관∣비정형∣건축형태∣상관성∣중심 공간∣ Abstract This study focused on the museums mainly holding permanent exhibitions except for the function of special exhibition in museum architectural works. This study aimed to draw the possibility to establish the relation between architectural form and central space of museums, by applying the forms like formal form, informal form, segment form, and diagonal form shown through a case study to total 164 work cases, reclassifying the architectural form into informal form, formal form, semi-formal form, segment form, diagonal form, and linear form, and then analogizing the matter of correlation between architectural form and central space of museums. -
Frank Gehry the Avant- Garde Architect
N eTate wModern goes large s The new Tate Modern extension by Swiss architects Herzog & De Meuron has been given the green light. The 11-storey glass tower will sit on the south-west corner of the existing gallery and takes the form of a spiralling stepped pyramid or ancient Babylonian-style ziggurat, adding an ‘exotic’ Egyptian dimension to the London skyline. Read all about it at www.tate.org.uk New World Trade Centre in Oslo A Norwegian investment group has se- cured the rights to build Norway’s first World Trade Centre in a complex to be built behind the Nobel Peace Centre on prime property in Oslo’s inner harbour. The World Trade Centre Association is a global organisation based in New York and has authorised 300 World Trade Cen- tres in 92 countries around the world. www.architectureweek.com News Richard Rogers: top London’s roll-up bridge prize for top An innovative 12-metre-long wood and steel bridge structure architect. curls itself into a ball to let water traffic through at the city’s Paddington Basin development. Designer Thomas Heather- This year’s coveted Pritz- wick, known for his innovative use of engineering and materials ker Prize for architecture in public monuments, says “Rather than a conventional opening goes to Britain’s Richard bridge mechanism consisting of a single rigid element that lifts Rogers, creative genius behind the 1970s to let boats pass, the Rolling Bridge gets out of the way by Paris Pompidou Centre. Awarded by Thomas curling up until its two ends touch”. -
Deconstructivism: Richness Or Chaos to Postmodern Architecture Olivier Clement Gatwaza1, Xin CAO1
Deconstructivism: Richness or Chaos to Postmodern Architecture Olivier Clement Gatwaza1, Xin CAO1 1School of Landscape Architecture, Beijing Forestry University, 35 Qinghua East Road Beijing, 100083 China Abstract: In this paper, we examine the involvement of deconstructivism in the evolvement of postmodern architecture and ascertain its public acceptance dimensions as it progressively conquers postmodern architecture. To achieve this, we used internet search engines such as Google, Yahoo, Wikipedia and Web of Science, we also used knowledge repositories such as Google Scholar and the world’s largest travel site TripAdvisor to gather information and data about origin, evolution, characteristics and relationship between postmodernism and deconstructivism. We’ve based our judgment on concepts from famous architects, political leaders and public opinion to access the suitability of architectural style. The result of this research shows that postmodernism architecture buildings have an average 96.8% of visitor’s satisfaction ranking; while deconstructivism architecture buildings when taken alone, a decrease of 2% in visitor’s satisfaction ranking is perceived. In addition, strong comments against the upcoming architectural style confirm that deconstructivism still has ingredients to endorse in order to impose its trajectory towards the top of modern architecture. Being a piece of a globalized world, deconstructivism architecture in the most of the cases tends to disregard the history and culture of its location which compromise its innovative, -
Étude D'une Pensée Constructive D'architecte
TP1 ÉTUDE D’UNE PENSÉE CONSTRUCTIVE D’ARCHITECTE Frank O. Gehry Musée Guggenheim de Bilbao Par : Sophie Gingras Émilie Labbé Estelle Robitaille http://www.guggenheim-bilbao.es/fr/le-batiment/lexterieur/ ARC-6021 - LA PENSÉE CONSTRUCTIVE EN ARCHITECTURE | Semestre A-14 A. APPROCHE DE L’ARCHITECTE À LA CONCEPTION / À LA CONSTRUCTION Frank Owen Gehry est sans contredit l’un des architectes les plus marquants la forme mouvante et instable de l’animal variées, etc. Les poutres sont apparentes, tout comme certains tuyaux ou de son époque. Durant les dernières décennies, l’homme a conçu des aquatique qui composent ses attributs autres équipements mécaniques. Pour Gehry, cette maison constitue un dizaines d’œuvres iconiques aux quatre coins du globe qui ont été publiées formels. Sur le plan plus personnel, lieu d’expérimentation unique : il aime l’idée d’utiliser des matériaux peu dans les livres, journaux et magazines et dont l’influence sur l’architecture cette inspiration est un écho à ses dispendieux et de les transformer à sa guise.5 L’esprit de cette maison contemporaine n’est pas négligeable. En effet, des projets tels que la souvenirs d’enfance et à ses sentiments reflète bien sa vision de la vie : « Life is chaotic, dangerous, and surprising. maison dansante de Prague (figure 1) ou le Walt Disney Concert Hall de qui peuvent parfois s’avérer mitigés ou Buildings should reflect it. »6 Los Angeles (figure 2) constituent assurément des repères architecturaux contradictoires. L’inspiration provenant et culturels en plus de démontrer la rigueur et la créativité dont Gehry fait du poisson se reflète à différents niveaux preuve. -
Night Fever Designing Club Culture 1960 – Today 17 March – 9 September 2018
Vitra Design Museum Charles-Eames-Straße 2 79576 Weil am Rhein/Basel Germany www.design-museum.de PRESS CONFERENCE 15 March 2018, 2 pm OPENING 16 MARCH 2018, 6 pm Opening Talk with Ben Kelly, Peter Saville, and Konstantin Grcic PRESS DOWNLOADS www.design-museum.de/press_images Night Fever Designing Club Culture 1960 – Today 17 March – 9 September 2018 The nightclub is one of the most important design spaces in contemporary culture. Since the 1960s, nightclubs have been epicentres of pop culture, distinct spaces of nocturnal leisure providing architects and designers all over the world with opportunities and inspiration. »Night Fever. Designing Club Culture 1960 – Today« offers the first large-scale examination of the relationship between club culture and design, from past to present. The exhibition presents nightclubs as spaces that merge architecture and interior design with sound, light, fashion, graphics, and visual effects to create a modern Gesamtkunstwerk. Examples range from Italian clubs of the 1960s created by the protagonists of Radical Design to the legendary Studio 54 where Andy Warhol was a regular, from the Haçienda in Manchester designed by Ben Kelly to more recent concepts by the OMA architecture studio for the Ministry of Sound in London. The exhibits on display range from films and vintage photographs to posters, flyers, and fashion, but also include contemporary works by photographers and artists such as Mark Leckey, Chen Wei, and Musa N. Nxumalo. A spatial installation with music and light effects takes visitors on a fascinating journey through a world of glamour and subcultures – always in search of the night that never ends. -
Of Frank Gehry's Los Angeles Katherine Shearer Scripps College
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2017 The "Postmodern Geographies" of Frank Gehry's Los Angeles Katherine Shearer Scripps College Recommended Citation Shearer, Katherine, "The "Postmodern Geographies" of Frank Gehry's Los Angeles" (2017). Scripps Senior Theses. 1031. http://scholarship.claremont.edu/scripps_theses/1031 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. THE “POSTMODERN GEOGRAPHIES” OF FRANK GEHRY’S LOS ANGELES BY KATHERINE H. SHEARER SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR GEORGE GORSE PROFESSOR BRUCE COATS APRIL 21, 2017 ACKNOWLEDGEMENTS First and foremost, I wish to thank my primary reader, Professor George Gorse. In the spring of my sophomore year, I took Professor Gorse’s class “Modern Architecture and Sustainability,” during which I became enthralled in the subject by his unparalleled passion for and poetic articulation of architectural history. Having been both his student and advisee, I am eternally grateful for the incredible advice, challenging insights, and jovial encouragement that Professor Gorse has always provided. I will also forever be in awe of Professor Gorse’s astonishing mental library and ability to recall entire names of art historical texts and scholars at the drop of a hat. I would also like to thank my secondary reader, Professor Bruce Coats, who made himself available to me and returned helpful revisions even while on sabbatical. -
Open Alexander Grosek Thesis V Final.Pdf
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF FINANCE PSYCHIC VALUE AND URBAN REGENERATION: HOW AND WHY SIGNATURE ARCHITECTURE AFFECTS REGIONAL ECONOMIES ALEXANDER GROSEK SUMMER 2020 A thesis submitted in partial fulfillment of the requirements for a baccalaureate degree in Finance with honors in Finance Reviewed and approved* by the following: Christoph Hinkelmann Clinical Associate Professor of Finance Thesis Supervisor Brian Davis Clinical Associate Professor of Finance Honors Adviser * Electronic approvals are on file. i ABSTRACT Focusing on buildings designed by winners of the Pritzker Prize for Architecture, I create a sample of 509 buildings-designed-by-signature-architects (BDSA) in the United States. This yields 170 metropolitan statistical areas (MSAs) that contain 509 BDSA. Drawing on U.S. Census data from 2010 – 2019, 13 economic data points are collected for each MSA in the sample, yielding 2,210 initial data points. The same 13 data points are collected for each of the 37 states where at least one BDSA currently resides, yielding an additional 481 unique data points Finally, the same 13 data points are collected for the U.S. economy as a whole. This data is sorted using basic weighted-average calculations to measure the relationship between the number of BDSA and the regional economic performance of the group of MSAs containing those BDSA, weighted by the number of BDSA in each city. The BDSA-weighted average of these economic statistics is then compared to the state and national averages for the same economic indicators. The results of this study show that the 170 regions under analysis have BDSA-weighted economic indicators that, when viewed together, demonstrate significantly more robust regional economic environments than the population-weighted average statistics for the 37 state economies in which they reside and the national average for the U.S. -
LOS ANGELES CITYWIDE HISTORIC CONTEXT STATEMENT Context: Architecture and Engineering, 1850-1980 Theme: Postmodernism, 1965-1991
LOS ANGELES CITYWIDE HISTORIC CONTEXT STATEMENT Context: Architecture and Engineering, 1850-1980 Theme: Postmodernism, 1965-1991 Prepared for: City of Los Angeles Department of City Planning Office of Historic Resources July 2018 SurveyLA Citywide Historic Context Statement Architecture and Engineering/Postmodernism, 1965-1991 TABLE OF CONTENTS PREFACE ............................................................................................................. 1 CONTRIBUTOR .................................................................................................... 1 INTRODUCTION .................................................................................................. 1 HISTORIC CONTEXT ............................................................................................. 2 Postmodern Precursors ........................................................................................ 2 Writings that Influenced Architectural Postmodernism ........................................ 7 Robert Venturi’s Early Buildings ........................................................................... 8 The Term “Postmodernism” ................................................................................. 9 Los Angeles Post-1965: Context in a Changing Design Culture ............................ 11 Charles Moore and the Influence of Sea Ranch ................................................... 13 Charles Moore in Pre-1980 Los Angeles .......................................................... 14 Sea Ranch and the Los Angeles