• Journal of The Korean Digital Architecture Interior Association
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• v.13 no.4
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• pp.5-12
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• 2013

Conceptual and technical design designated as digital architecture has been discussed with disorderly meaning as a conception only. Thus, this study aims at verification of development possibility for the digital architecture by analyzing how works of Frank Gehry have effect on nonlinearity of the digital architecture. Nonlinear characteristics appeared on works of Frank Gehry analyzed on the basis of expression techniques and modeling principle are as follows: 1) Initial works show a trend to gradually change and develop from horizontal and vertical linear structure to nonlinear pattern. 2) From a nonlinear modeling principle, initial works appear the primary deformation elements only, while afterwards, they are gradually developing to a pattern to mix the primary and secondary deformation elements as introduction of digital architecture. 3) Through specific cases, Frank Gehry has conducted attempts with various method for nonlinear pattern expression. 4) From the initial works to the latest works, continuity becomes higher and changed to nonlinear pattern. This study is significant from a viewpoint that it has verified development possibility of digital architecture by analyzing nonlinear trend of digital architecture for Frank Gehry and it is required to conduct multilateral researches related to the digital architecture.

• Journal of the Architectural Institute of Korea Planning & Design
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• v.34 no.2
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• pp.95-106
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• 2018

This study aimed at revaluating Frank Gehry's freeform constructions. To this end, the study analyzed the way the space composition and circulation system of general constructions are connected with newly extended parts in the Art Gallery of Ontario and, based on this, comparatively analyzed freeform constructions before and after the art gallery, finding out what changes were made in the exterior and interior spaces of freeform constructions built after the art gallery. The results of the study are as follows. First, starting from extending the Art Gallery of Ontario, Gehry came to use glass instead of metal as main material of freeform constructions. In order to create the circulation connecting the existing building and the extended mass, Gehry applied continuing circulation for the first time to the gallery. Third, in addition to design motives, such as the woodblock print depicting a carp by Hiroshige, still life depicting a glass bottle by Morandi and the crease of the shawl in Vermeer's paintings, which Gehry applied to freeform constructions, the design motif which was recently acquired from Pyrenees rock was added. Fourth, the trend of mall construction appeared before and after the Art Gallery of Ontario. Finally, Gary used the shape of fish as a design motif for his work at an important turning point in his Freeform Architecture.

• Korean Institute of Interior Design Journal
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• v.16 no.1 s.60
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• pp.21-30
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• 2007

Frank O. Gehry is known to be an architect whose work ranges over different realms, especially between fine arts and architecture. He himself mentioned about this interdisciplinary aspect of his own work: he was inspired by, worked together with, and sometimes directly influenced by contemporary artists. Among the artists, the most influential ones are the sculptors, especially Richard Serra of Post-Minimalism and Claes Oldenburg of Pop Art. Based on this historically known fact, although very brief, this study explores how the features of Post-Minimal sculpture were transferred into Gerhy's architecture, and how Gehry has developed them into his own language. In Post-Minimal sculpture, the main concept 'Anti-Form' was realized by emphasis on materiality, process and intuitiveness of work of in. Those features appeared vividly in Gehry's works especially in his second stage of his life, but seemed to have disappeared in the third stage. However, in the fourth stage, Gehry went beyond the influence of Post-Minimalism, and he created very unique formal language dialectically formed between Post-Minimal sculptural language and his architectural language.

• Archives of design research
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• v.16 no.2
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• pp.219-232
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• 2003

Frank O. Gehry is hewn to be an architect whose design 1anguage is so arbitrary and so unexpectedly changing that it seems to be almost impossible to trace any common language or my coherence over his entire career and works. To provide a counter-argument to this conception, this study explores the transformation pattern of the design language commanded by Gehry through his works. To pursue this study, Gehry's career was divided into four periods according to the design characteristics, and thorough analysis was conducted on the transformation pattern of the language both synchronically and diachronically. Based on the analysis, it was found that Gehry had been always trying to metaphorically embody the synchronic context of any given Period into his works, and the vehicles of this embodiment were materiality and morphology. Finally the argument of this study is that the changing process of Gehry's design language is not any "revolutionary change," as it was known to be, but 〃evolutionary transformation. "on."

• Korean Architects
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• s.606
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• pp.104-107
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• 2019

• Korean Institute of Interior Design Journal
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• v.13 no.5
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• pp.82-89
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• 2004

Today, people are bombarded with information, high-technology and multimedia. With that in mind, museum can no longer attract visitor with traditional concept, so it must find some solution or stimulation to attract their attention back. New museum is becoming a experimental space for new culture, new education, and most of all a place to fulfill one's satisfaction of life. Over the past centuries, Guggenheim Foundation has done a great job in providing place for art and place to get emotional stimulation. Out of all of their museums, Frank L. Wright's Solomon R. Guggenheim in New York and frank O. Gehry's Guggenheim Museum in Bilbao had most unique character yet share similar feature to be recognized as the architectural landmark of the 20th & 21st century Although there are close to 50 years of gap between two museums, their unique, attractive, site-specific, emotional value comes from the two most innovative architect of the past and present century. For Wright the Guggenheim was his last project but it had one of the greatest impact on his career and for Gehry the museum gave him confidence that anything is possible. This study will focus on the spatial organization as well as the architectural formation of both museum to compare and analyze. The goal of the research is to give fundamental data which will reveal emotional elements as well as concepts from each work. The content of this research will mainly focused on their architectural philosophy and it will reveal their concept on human emotion as well as the characteristics of the spatial organization. The result of the study will be a valuable reference for people designing art & cultural facilities in the future.

• Korean Institute of Interior Design Journal
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• v.20 no.5
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• pp.59-67
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• 2011

The goal of this research is to find the difference between F. Gehry's museum architecture's extremely abstract and chaotic space composition and that of other architect's. Gehry's four museum architectures built from late 1980s to 2000 were selected for analysis. Four more museums, built in the same era with the size of that (atypical) museums, were selected for comparative studies. Space Syntax, a quantitative analysis method for spatial configuration, is used to find the characteristics of internal spaces. The Result shows that Gehry's museum architectures' connectivity is 0.375 times bigger and integration is 0.731 times smaller than the compared museums. High connectivity suggests that their visitors could take diverse routes. Low integration implies that their routes are less efficient than the compared museums overall. Their intelligibility is slightly higher than the other museums. This means their visitors have comparatively high understanding of the internal space.

• 주택과사람들
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• s.196
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• pp.98-99
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• 2006

최근 국내 CF에 여러 차례 등장하면서 더욱 익숙해진 스페인 빌바오의 구겐하임 미술관. 마치 살아 있는 유기체 같은 이 역동적인 건축물은 캐나다 출신의 건축가 프랑크 오웬 게리의 작품이다. 해체주의 건축가이자 하나의 예술 조각 작품처럼 정밀한 설계로 주목받는 그를 만나본다.

• Korean Institute of Interior Design Journal
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• v.13 no.3
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• pp.84-92
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• 2004

This study concentrates on a new idea that is formulated as a creative spatialization in contemporary architecture and painting. It is stimulated from the classical baroque, which is expressed with the conceptual instruments, 'excessive', 'decorative', 'accidential' Suggested from that, this study tries to open the actual sense area of 'the baroque' by analysing the architectural ideas of wrenching and folding by Frank O. Gehry and in the same context by elucidating the dynamic deformalising of the figures by Francis Bacon. The redefined 'new baroque' operates in the chain of the transformable and flexible images that must be recognized as 'the real' in the sense of 'the most empirical' and are vulnerable to dispersal. The typical instrument of Gehry's 'new baroque architecture' is the enclosing of the space and its folding, and Bacon, whose painting can be called as the modern baroque, takes as the expressing methods a wrenching of the figures, a relieving of the colored background against the figure and a disappearing of figures into the background. These different ideas meet in the theoretical gravitation field of the philosophy of Deleuze, in which the reconstituted baroque conception means the tension between the folds, on expansion and contraction of which the variable space is dependent, Through the general principle of 'the new baroque', a free dispersal of power, to architect and painter is offered the possibility, not only to make the real world intimate to the real life, but also to produce from there a vivid new space. Finally it brings to enjoyer and viewer the possibility, to perceive the operating power in and around oneself.

• The Journal of Engineering Research
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• v.6 no.1
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• pp.65-74
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• 2004

This study concentrates on a new idea that is formulated as a creative spatialization in contemporary architecture. Suggested from the classical baroque, this study tries to open the actual sense area of 'the baroque' by analysing the architectural ideas of wrenching and folding by Frank O. Gehry. The redefined 'new baroque' operates in the chain of the transformable and flexible images that must be recognized as 'the real' in the sense of 'the most empirical' and are vulnerable to dispersal. The typical instrument of Gehry's 'new baroque architecture' is the enclosing of the space and its folding. This idea meet the theoretical gravitation field of the philosophy of Deleuze, in which the reconstituted baroque conception means the tension between the folds, on expansion and contraction of which the variable space is dependent. Through the general principle of 'the new baroque', a free dispersal of power, to architect is offered the possibility, to make the real world intimate to the real life and to produce from there a vivid new space, and to enjoyer and viewer the possibility, to perceive the operating power in and around oneself.