Frank Gehry: Deconstructivist Architecture - Coursework Example

FRANK GEHRY: DECONSTRUCTIVIST ARCHITECTURE and Section Number Word Count: Some people would describe this architect’s works as“beautiful,” “offensive,” “difficult,” or “shocking,” but the latter would not mind because his architectural ideas do not aim to please everyone. Instead, he focuses on the principles of art that emphasize imagination and resourcefulness, as well as his creative collaborations with his clients.1 This paper refers to none other than Frank Owen Gehry, who is known for his designs that challenge architects and the public alike to go beyond what is immediately visible and to question social goals, cultural assumptions, and functionality when thinking about design as a product and as a process.2 Regarding Gehry’s architectural philosophy, some critics note that his early designs and concepts depict modernism because of the prevailing dominance of modernist principles taught in college and practiced in his field, but his overall philosophy later embraced post-modernist concepts, especially Deconstructivism.3 The deconstructivist movement started in the 1960s, wherein French philosopher Jacques Derrida became the main proponent.4 The basic deconstructivist ideas are that literary texts can be read in many ways, and not just one, and that the whole is secondary to it parts.5 In architecture, decontructivism indicates that buildings are its parts and pieces.6 The deconstructivist approach to design underscores the essence of breaking parts into pieces in order to understand their interrelations in creating the whole. This paper will talk about Gehry’s life, his architectural philosophy, the people who influenced this philosophy, the particular ideas he brought to his work, his famous students, how he used building materials to express architectural ideas, and a description and analysis of his works with some emphasis on several furniture and buildings and his management style. The Life of Frank Owen Gehry Frank Owen Gehry is born on February 28, 1929, in Toronto, Canada as Frank Owen Goldberg. His parents are Irwin and Thelma Goldberg. His maternal grandparents are Sam and Lillian Caplan Goldberg, who are Polish Jewish immigrants to Canada. Sam Goldberg is a scholar of the Talmud, a set of writings that serves as the core of Jewish law.7 Jewish traditions significantly influenced Frank’s home and family life.8 Being Jewish during these times brought both inspiration and struggles to Gehry, especially due to the existence of anti-Semitism in Canada and the United States, as well as other parts of the world. In the biography, Frank Gehry, Caroline Evensen Lazo narrates that the Jewish practice that affected Frank the most was when his grandmother bought a large live carp every weekend.9 She cooked the fish and served it as a Jewish delicacy. Before cooking it, she let it swim alive in a tub. Young Frank looked at this swimming fish with fascination.10 Its curvaceous forms and shiny texture amazed him. These weekly happy fish memories inspired several of Gehry’s sculptures, including the fish sculpture in the garden of Walker Art Center in Minneapolis, Minnesota. The fish’s double curves later on became a dominant design feature and hallmark of some of his buildings and sculptures all over the world. The Standing Glass Fish (1986), for instance, depicts the beauty of form in its motion. See Figure 1 for this fish sculpture. The paper sees the artistic identity of Gehry in this sculpture that shows animated happiness and, even growth and peacefulness. Figure 1: Standing Glass Fish (1986) by Frank Gehry in the garden of Walker Art Center in Minneapolis, Minnesota11 Creative Childhood Memories and the Struggles of a Jewish Child As a child, Frank visited his grandparents often in Toronto. He showed interest in building blocks, which his grandmother Lillian nourished through playing with him for hours. They built houses, towns, and cities. Frank remembered that he and his grandmother played many times and that she was his first best friend. He said: “She was my model of how an adult can play creatively.”12 These activities must have inspired Gehry’s ideas regarding playing with materials and design too. His approach to design has a playful dimension with its inclusion of imaginative shapes and asymmetrical lines that are typical of children’s drawings. Frank also spent a great deal of time in his grandparent’s hardware store. His grandparents taught him about tools and different building materials, such as wood, glass, and metal, and enjoyed knowing more about and experimenting with their functions.13 He and his grandmother often built cities and buildings from blocks and odd-shaped wood scraps.14 His grandparents allowed him to play with scraps and he delighted in breaking materials apart and knowing their different strengths and weaknesses. Moreover, at such as young age, he showed early interest in art. His mother brought him to the Art Gallery of Ontario (AGO), the Royal Ontario Museum, and Toronto’s Massey Hall’s symphony concerts.15 She sensed Frank’s artistic identity and wanted him to learn more about visual and performed arts. Irwin, however, did not regard his son’s artistic and creative abilities highly. He thought that his son was too much of a dreamer and could not amount to anything.16 He wanted him to pursue more concrete interests that were lucrative, especially since their fortunes were not stable. This researcher finds it somewhat of a paradox that Irwin felt this way with his son, when he himself was an artist. Irwin might be concerned of Frank’s financial stability, nevertheless, because he himself experienced numerous financial struggles with the ups and downs of his string of businesses and poor financial potential of his artworks. Doreen, Frank’s younger sister, nevertheless, liked her father’s artistry and described him as a “pop artist.”17 Irwin had made an American flag made of fruits and vegetables, as well as a papier-mâché horse that was as “light as a feather but strong enough to stand on.”18 These home projects further inspired young Frank, who realized that extraordinary projects can be made from ordinary materials.19 Besides art, Irwin influenced his son’s business endeavors. Irwin relocated his family several times to take advantage of business opportunities.20 They transferred to Timmins, Ontario, where Irwin started a slot machine business. Frank also began a small business as a kid. He resold Daily Press newspapers for a profit of two centavos each. Later on, however, anti-Semitism affected him. He was the only Jewish student in his school and he experienced children beating him up for “killing Christ” and taunting him with the name “fish” or “fish-head.”21 These bullies prompted Frank to turn away from Jewish beliefs and practices and to question God’s existence for some time.22 Business dwindled in Timmins, however, so Irwin decided to move again, this time to Los Angeles, California. Starting Again in California The Goldbergs migrated to Los Angeles, California. During this time, Thelma supported the family and Frank’s artistic inclinations. Doreen had positive memories of their mother. She narrates that Thelma had been there for them, to support their talents, and to promote “creative play.”23 Doreen is nine years younger than Frank, but she remembers him as a doting brother and supportive of her musical abilities too. Frank Gehry in College Frank could not afford to study full time in the University of Southern California (USC), so he studied art classes at night and worked on different jobs. He worked as a factory worker, kitchen staff, and driver, among other jobs.24 From 1949 to 1951, Gehry studied Fine Arts in USC. He enjoyed changing the usual look and use of objects and combining unlikely materials.25 Glen Lukens, Gehry’s ceramics arts teacher, felt that Frank had architectural interests. Lukens brought Gehry to architect Rafael Soriano to observe the latter’s construction practices.26 Gehry became interested in making design plans and Lukens advised him to pursue Architecture, which the former eventually did. He soon enrolled in an architecture program in USC. In college, Frank met Anita Snyder and married her in 1952. After they had two kids, Anita urged him to change his surname because of the growing anti-Semitism in the nation. Frank agreed to change Goldberg to Gehry. He chose Gehry because it is unique and started with “G” too although he expressed regret later in changing it.27 Gehry finished college in 1954. The People who Influenced Gehry’s Architectural Philosophy After Gehry finished college, he studied the design principles and works of the so-called giants of architecture. They are the twenty-first century greats: Charles Edouard Jeanneret (Le Corbusier), Philip Johnson, Frank Lloyd Wright, Ludwig Mies Van Der Rohe, and Walter Gropius.28 Their styles inspired him to rethink the meaning of form and function in architecture. In 1956, Gehry and his family transferred to Cambridge, Massachusetts, where he studied city planning at the Harvard Graduate School of Design. He saw some of Le Corbusier’s buildings, paintings, and sculptures that made him realize that he could also make buildings literally outside the box.29 Le Corbusier used graceful lines and forms in his architecture, such as what he did with his design, Chapel of Notre Dame du Haut. See Figure 2. Le Corbusier showed Gehry that not all designs should be based on straight lines and “box” figures, which were common in the 1950s.30 1962 was a large turning point for Gehry, after working for Victor Gruen Associates on an off from the 1950s to the 1940s, and in Paris in the office of Andrew Remondet. This year, his father died, and he also opened his own architectural firm, Frank O. Gehry & Associates, in Los Angeles.31 From here onwards, Gehry’s artistic and architectural influences came from a mixture of inspirations from his grandparents, parents, and these architects. Figure 2: Le Corbusier’s Chapel of Notre Dame du Haut32 The first post-modernist architect that influenced Gehry was Arthur Drexler. He was a design curator at the Museum of Modern Art. In 1975, Drexler made a show regarding the Beaux Arts, and soon enough, post-modernism in architecture spread like wildfire, according to Gehry himself.33 During this time, Michael Graves, Charlie Moore, Robert Venturi, and other architects immediately rode onboard post-modernism, but Gehry was apprehensive at first.34 He reflected first on his architectural principles and if post-modernism fit them. Nevertheless, his study of and work on fish images and designs launched his post-modernist architectural philosophy.35 Gehry’s Easy Edges Furniture Business From 1969 to 1973, Gehry worked on a furniture business line, Easy Edges. His father’s light but sturdy papier-mâché horse inspired him to make furniture out of corrugated cardboard.36 The furniture that Frank Gehry made was sturdy enough for people to lie on or sit on. He believes that working on his furniture has been “some of the most rewarding times of [his] life.”37 This sentiment was not surprising because Gehry probably also honored the memory of his resourceful and artistic father through these products. To create this furniture line, Frank O. Gehry developed a process that maximized the lightness and strength of cardboard. He narrated his insight on this material: One day I saw a pile of corrugated cardboard outside of my office – the material which I prefer for building architecture models – and I began to play with it, to glue it together and to cut it into shapes with a hand saw and a pocket knife.38 He became aware that, if he could turn paper into models for sculptures and buildings, he could also turn it to cardboard furniture. He called this material, “Easy Board,” that refers to glued sheets of corrugated cardboard that ran on alternating directions.39 Easy Edges furniture products were remarkably strong, and because of their unique surface quality, did not create so much noise when moved around or used. Victor Papanek, a design theorist, commended Easy Edges for embodying the environmental responsibility of designers, and he believed that using packing material for furniture-making was environmentally responsible and useful.40 Gehry loved designing furniture because of the freedom it gave him to design new light materials and forms. Lindsey and Gehry described the process of making this furniture as a “kinesthetic unmediated and physical process” that show the vigor and spontaneity needed to build new products.41 The process of making the models for these furniture items and architectural designs engage the same height of excitement and intensity for Gehry. Easy Edges easily became an overnight success because of the simplicity of materials and designs, as well as the strength of his artworks of functional home furniture. Buyers who appreciated them could also sense the insight of the materials and ecological principles behind them. An example of Gehry’s furniture is the Wiggle Side Chair that he built in 1972. This chair has a flowing design, as if water combined with cardboard to create its legs. Moreover, this chair questions the fundamental concept of a chair that usually stands on four legs. Instead of legs, it has strong, thick layers of cardboard underneath. It creates an illusion of sitting on water. Furthermore, this product proved that ordinary materials can be used to create beautiful artworks that are functional too. It is based on the same principle as Frank Gehry’s father’s papier-mâché horse, simple, but playful and aesthetically unique. Figure 3: Gehry’s 1972 Wiggle Side Chair Another furniture product from Gehry is the sofa and table set. See Figure 4. These forms of chairs and tables can be found in Gehry’s studio in Gehry Partners too up to now, which shows their durability when compared to plastic, wood, and steel furniture. These pieces have more volume than the wiggle side chair. But like the said chair, this sofa is sturdy and comfortable to sit on. It can also hold larger people, so it is more inclusive. The reclining position and bulkiness of the sofa mimic the Lazy Boy, but the former is more ecological and has a mixture of lasting classic and futuristic look, which is common for Gehry’s designs. Its classic appeal lies on its simple design, while its futurism on its unevenness from its metal-sheet-looking texture. The table is composed of similar vertical-columned layers of corrugated cardboard. It has the same style as the base of the sofa, thereby creating a unified look. The layers of cardboard are also curved, as if they are rainbows or tops of trees, which reinforce the set’s ecological appeal. The brown tone evokes environmental sentiments because of the earthen colors. Brown is also suggestive of soil or trees, which is apt since cardboard comes from trees too. This set has the capability of evoking both ecology and futurism. Figure 4: Sofa and Table Set42 The demand for this furniture line easily skyrocketed, but despite Easy Edges’s cash cow status, it shoved Gehry into the kind of limelight he did not want. The price of and demand for Easy Edges furniture increased rapidly, probably because they became artsy furniture, and such happenings contradicted Gehry’s idea of creating low-cost, well-designed furniture.43 He wanted to make furniture that people could afford, but his line became a product for the rich. He thought about his principles and priorities: I started to feel threatened. I closed myself off for weeks at a time in a room to rethink my life. I decided that I was an architect, not a furniture designer … and I simply stopped doing it.44 Gehry focused on his architectural firm, although his Easy Edges designs inspired other furniture makers to use different, ecological materials for their works too. Gehry’s Architectural Philosophy Early in Gehry’s architectural career, he followed modernist principles. He used computers to design the figurative elements of his works.45 He describes to Isenberg that he was raised as a modernist.46 He says: “Modernist was the mantra, and I bought into that.”47 He adds that, after he went to Paris in 1960, and looked at different cathedrals, such as Notre Dame, Chartres and others, he appreciated their “toughness” and individualism.48 He asserts that when he got back to the U.S., he remained a modernist, until he saw Arthur Drexler’s works, the Beaux Arts. Gehry did not easily transition into post-modernism, especially, deconstructivism, however, until he designed fish sculptures and fish-inspired buildings with double curves. His deconstructivist approach includes breaking a building into its parts and these parts into smaller pieces through his sketches and models. Deconstructivist architecture questions the humanist use of space, in essence, the way people conceive space according to harmonies that come from reason, symbolism, and truth.49 Its architecture has been called ‘architexture’ or architecture through fragmentation.50 A fragmented approach reveals the emperor in his nudity, in terms of allusion.51Tschumi sees architecture as something that disrupts and unsettles the mind because it wants to ask if it can both settle and unsettle at the same time.52 Gehry also subverts conceptions about truth and harmony through dislocating effects. Dislocation concerns shifting, though not entirely eliminating, meaning’s boundaries, and because meaning indicates absence when the referent is absent, then dislocating buildings embraces presence and absence.53 Deconstructivist architecture presents a jarring sense of placement and displacement.54 Gehry’s Deconstructivist Buildings One of the earliest examples of deconstructive design from Gehry is his own home at Santa Monica, California. See Figure 5. He remodeled his house and created an unconventional residence. His sons loved living in it because it felt like living in a “jungle gym and movie back lot.”55 Indeed, Gehry considered it to be something from his own childhood, which his children could also enjoy. Some areas reflected light to create the sense of being in outer space.56 He added soft lighting for several places too to evoke a sense of warmth and bonding for family and visitors.57 Each part of this residence has something different to offer, which is essential to the meaning of fragmentation in deconstructivist architecture. Some parts reflect his childhood experiences. For instance, this house has a dark stairway that could also be found in his grandparent’s house in Canada.58 Some parts feature orderly and neat forms and lines, which embody his mother’s influence.59 Other areas had a jumbled impact with surprising entrances and exits, as if to signify his father’s ability to unsettle him.60 These spaces have their inner spaces. A whole exists inside each part with every memory and personality concretely embedded in every area. Deconstructivist architecture also settles and unsettles. On the one hand, his house settles him and his family. It houses them inside like a home would a family. On the other hand, the metal sheets had a shocking effect for Gehry’s neighbors. They could not imagine that these materials could be used to design the facades of residences. For Gehry, metal sheets outside his home are similar to trucks parked in front of his neighbor’s houses. They have a mechanistic look that is both futuristic and crude. Furthermore, he painted one side of the wall aqua, so that it could blend to the blue and green trucks of his neighbors.61 The philosophy of deconstructivism remains- to shock and force people to rethink what designing homes means. Figure 5: Gehry’s House in Santa Monica, California62 Another example of Gehry’s designs is the Walt Disney Concert Hall. See Figure 6 for different views. Gehry won the commission for the design of this building in a competition. The most evidently striking characteristic of this design is its stainless steel facade that curls and curves like flower petals.63 The facade combines brushed and bright steel sheets to create a unique aesthetic effect that reflects light at different intensities. The outer design alone exhibits deconstructive architecture because it defies expectations about the use of light and materials. Deconstructivism is anti-form and anti-structure.64 Walt Disney Concert Hall defies the boxy forms of modernism and the structure of upright buildings with its sprawling steel sheet petals opening up to the sky. The reflection of light on it is particularly symbolic of musical notes in the form of light travelling across the building. At the same time, the softness of the curves juxtaposes with the sharp edges and curls. The shocking dives with the beautiful. If the Walt Disney Concert Hall is a beautiful flower, it is a dazzling rose with its defensive thorns. It fights back the boundaries of meaning by creating new meaning from new forms. Moreover, the architecture flows like music in the air. The sheets seem to softly sing across the atmosphere, creating a skyline of a loosely wrapped rose or tulip. These buildings discussed underscore the ability of deconstructive architecture to shock the senses and make viewers think about the meaning of design as a process and outcome. They also want architects to not be focused on function alone and see form as functional in its use and meaning for users and the architects. Figure 6: Walt Disney Concert Hall65 Viewed Looking North Close up of the Top of the Main Entrance Indeed, the identity of the architect cannot be diverged from their products. Essentially, architecture must be about the users and their needs and their environment, as well as their culture and dreams. Unavoidably, and this essay believes, also validly, the architect brings his/her identity into his work too. The Walt Disney Concert Hall, in particular, reflects the childlike imagination of Gehry that goes way back his happy childhood days. The playful flows of his designs, in this case, the curves of the facade, illustrate the meaning of play and creativity in design. The process of design is not a vacuum that excludes the architect. Instead, it envelops the architect into the parts of his designs. Gehry is in his designs, in its different parts, as well as its whole, through the playful rebelliousness against set forms and expectations and the establishment of new design norms and beliefs. Deconstructivism encodes and decodes the meanings that are changing and developing, both in the inner minds of the architect and the outer worlds of their designs Gehry’s Use of Building Materials to Express Architectural Ideas Gehry uses building materials that embody different meanings for users and the architect. He is both resourceful and imaginative, as can be seen from the usual employment of metal sheets in his designs. In his models, Gehry concentrates on converting drawings into physical models. This part transforms the drawing into a logical constructed system.66 The model is less abstract when compared to the drawing and it uses physical materials. It includes paper, cardboard, copper, and other materials, including cedar or strip canoe at times.67 The tactile feedback allows Gehry to see the arrangement of materials as they should be in the real world and to make adjustments in the design as necessary. Moreover, Gehry considers the qualities of the building materials in relation to their effects on the parts of the building. For instance, he uses metal sheets because they are plentiful. In the Walt Disney Concert Hall, metal reflects light and maximizes sunlight in the environment. It attracts and shocks the eyes with brightness and uniqueness. Inside the building, every part has been designed to let in light and to also control sound. Gehry consults with other experts to improve the acoustic abilities of the inner environment to also serve its primary function as a concert hall. These parts have important pieces in them that have also embedded design that is far from ordinary and is meant to challenge what people think they would see inside a concert hall. Instead of symmetry, unity is found in materials that combine in a beautiful unlikely asymmetry. The impact is a new height in architecture that inspires many other architects to also expand their boundaries and break new design grounds. Design Management Design should be seen as both a process and outcome.68 Boland et al. study the design philosophy in Gehry’s firm. They depict it as a ‘design attitude.’69 The design attitude refers to a meticulous and constant anticipation that every project provides a novel opportunity to generate something exciting and to do it in the most original manner.70 Gehry believes in respecting social conditions, such as beliefs, expectations, and practices, but he also wants to go beyond them through offering something that is not only new, but unique and functional to his clients and their culture.71 He argues that real architecture is not mediocre; it must be always new to the eyes and the mind. Furthermore, the design attitude comes from a passionate design urge that demands innovation and betterment. Gehry has a reputation for high-level creativity that lives in his company’s organizational culture.72 Boland et al. further discuss the "Managing as Designing" workshop.73 Gehry’s favorite word is functional. His meaning of functionality is not about effectiveness in uses alone, however, but much more than that: Because traditionally, architects use the word functional and clients use the word functional when they look at a building and say, "This guy produced a very functional building." And it means to them that they can use it, that it works. But that doesnt say anything about how it brings emotionality to the table, and doesnt consider if it is human. Is it humanistic? Functional is boom! There it is, its functional. Functional for me has a broader meaning than that. It means achieving a building that does all the things we want from our buildings. Building the Lewis Building and having it here right now and using it is functional, but that embodies all the processes, all the people, all the budgets, all of the building departments, and the whole history of architecture. All of those things come together over time and arrive at a conclusion that stands here.74 The idea of functionality is that users can ‘function’ as human beings as a whole. Everything in it functions in support of the human emotion and potential. One more essential dimension of Frank Gehrys design practice is the employment of numerous models for designing.75 He uses these models as tools for thinking and integrating emotional investments. For instance, the sketches and raw models must express the emotions of the designs. Multiple models with different scales must create different reactions too to the potential design problems.76 Gehry wants the totality of human experience in the design process too, not just the final design or the final building. The models, sketches, and computer models must aim for emotional responses and experiences, as well as cognitive reactions.77 They are voices that speak to the wholeness of human experience. In addition, Gehry wants to think that design is in a liquid state.78 He informs clients that designs are liquids that often change, until its final phase. Design, materials, methods can change across time. He does not want to hasten the crystallization process because it can result to half-baked designs with not enough impact and functionality. The concept of liquid state affirms deconstructivism that defies form. In the liquid state, architects are free to think in streams of consciousness and unconsciousness. Gehry believes in the freedom to design without limitations, at least initially, so that the apex of creativity can be released without fear for risks and rejections. The Students of Frank Gehry Gehry has numerous students who later on became famous architects. Many reflected the deconstructivist approach to creating their designs. An example is Randall Stout who made the Taubman Museum of Art. This is similar to the Walt Disney Concert Hall because of the use of metal sheets at the façade. Stout takes Gehry’s ideas further through adding glass and protruding concrete. The mixture of different materials with different textures and compositions is another creative level of design. Another famous student is Gordon Kipping of Manhattan-based GTECTS. Kipping has Gehry’s influence of Japanese materials and forms that have unsettling effects with experimental silhouettes and materials. Some of his designs also use metal sheets and forms that are unusual and extraordinary. These students follow the postmodernist principles of Gehry, as well as the emphasis on breaking expectations through shifting norms and techniques. Conclusion Gehry is not the initial main proponent or the first adopter of deconstructivist architecture, but his works demonstrate strong deconstructivist principles. These principles aim to shock the senses and question ideas about forms and materials. Deconstructivist architecture produces paradoxes for architects and users alike to be always challenged and inspired to be creative. Fundamentally, his designs are liquids in motion and fragmented in approach. His design process involves a long liquid stage before it crystallizes to the final design. The goal is to accept change that comes with studying the building and its potential. In addition, Gehry brings his identity into his works. His forms have playfulness that emanates from his youth, and originality that comes from his lineage’s influence. Several artists, philosophers, and architects also affected his design principles. They taught him that no one has the last say on the right and acceptable ideas and assumptions. They motivated him to become an architect whose boundaries are shifting toward different and new heights. Gehry represents postmodernist architecture that craves for challenge, change and originality in the ever-fluid new world. Bibliography Bodden, Valerie, and Frank O.Gehry. Frank Gehry. Minnesota: Creative Education, 2009. Boland, Jr., Richard J., Collopy, Fred, Lyytinen, Kalle, and Youngjin Yoo. “Managing as Designing: Lessons for Organization Leaders from the Design Practice of Frank O. Gehry.” Design Issues 24, no. 1 (2008): 10-25. Corbo, Stefano. From Formalism to Weak Form: The Architecture and Philosophy of Peter Eisenman. England: Ashgate Publishing, 2014. Fichner-Rathus, Lois. Foundations of Art and Design. 2nd ed. Connecticut: Cengage, 2015. Isenberg, Barbara. Conversations with Frank Gehry. New York: Alfred A. Knopf, 2009. Lazo, Caroline Evensen. Frank Gehry. Minneapolis: Twenty-First Century Books, 2006. Lindsey, Bruce, and Frank O. Gehry. Digital Gehry: Material Resistance, Digital Construction. Boston: Birkhäuser, 2001. Petroski, Henry. Success through Failure: The Paradox of Design. New Jersey: Princeton University Press, 2006. Sebestyen, Gyula, and Christopher Pollington. New Architecture and Technology. Massachusetts: Architectural Press, 2003. Vitra Design Museum. “Wiggle Side Chair.” 1972. http://www.design-museum.de/en/collection/100-masterpieces/detailseiten/wiggle-side-chair-frank-o-gehry.html Woods, Tim. Beginning Postmodernism. UK: Manchester University Press, 1999. Bibliography of Images Used Gehry, Frank. “File:Gehry House - Image01.jpg.” http://en.wikipedia.org/wiki/File:Gehry_House_-_Image01.jpg ---. “File:Standing Glass Fish-Minneapolis Sculpture Garden.jpg.” 1986. http://commons.wikimedia.org/wiki/File:Standing_Glass_Fish-Minneapolis_Sculpture_Garden.jpg ---. File:Walt Disney Concert Hall, LA, CA, jjron 22.03.2012.jpg. http://en.wikipedia.org/wiki/File:Walt_Disney_Concert_Hall,_LA,_CA,_jjron_22.03.2012.jpg ---. Wiggle Side Chair. 1972. http://www.design-museum.de/en/collection/100-masterpieces/detailseiten/wiggle-side-chair-frank-o-gehry.html Le Corbusier. “The Chapel of Notre Dame du Haut.” 1950. http://www.bluffton.edu/~sullivanm/ronchamps/ronchamps.html Sofa and Table Set. “Cardboard Furniture Collection.” 1969-1973. http://www.netropolitan.org/gehry/chair2.html Read More