Frank Gehry is the perfect artist who does not follow the trend and makes his own. He is a Canadian-born American architect, living in Los Angeles. He creates unique sculptures through his buildings. His perspectively distorted shapes and his use of exposed wooden frame construction materials of corrugated metal, plywood and chain link metal fences as sheathing helps us to recognize his buildings. His sculptural forms make one art form that has breaking volumes of incomplete geometric object. (archinomy.com) Gehry freely  improvises and leaves nothing to chance in his work that comes immediately; when he designs, he tears a piece of paper and just put it in the any space and if he likes it, he keeps it or if not, he throws the piece away, Figure #1 (Frank O. Gehry)          that it gives the feeling, of familiarity with art that you can see easily. Architecture is an art where form follows the function. By just looking at the process of his design works, the function follows the form.  Gehry can produce architecture work that is practical in design purpose but also a work of art because it is considered as a piece of sculpture.

 

SIGNATURE STYLE

 

     Gehry’s construction has been classified as 

deconstruct structuralist. Deconstruct is a development version of the postmodern era in 1950s. It has a fragmentation and structures surface, skin and no rectilinear shapes characters in the form of architecture. However, he was disappointed that he was part of deconstruction architect. The reason was because, it was not the study of construction made him to do his architectural projects, it was from his old lifestyle and formed in the orientation of his art. However, it DeCon structures reflects his designs very well because it is not necessary to reflect the specific social or universal ideas and they do not believe that the form follows function. (archinomy.com) Gehry’s architectural background can be divided into three parts.                          Figure #2 (The Dancing House)

Firstly, he was exposed to many different materials such as saw, hammer, fences or chains from the store that his grandfather operated that he was highly affected by “the nature of the material”. Later, this ‘Connect Chain’ developed to his unique folded or wrinkled metal panel. Secondly, because he was immigrator that relatively he spend his childhood impoverished. It led Frank Gehry to interest more into the so-called Economics of Buildings and this made him designing the way to design something that is ‘cheap construction’. Lastly, he considered the construction as fine art. Gehry consciously explored the expressive possibilities of linkage between the creature and historical art and architecture in the 1970s . The reason why Gehry is relatively receives high attention from the public is because due to his own morphological originality of his work and his popularity has extended from the US to all over the world. His popularity was not only from the professional groups, but as well as among the general public. His original creations that had unique morphologies  of the buildings came from his exposure and experiences.

 

SIGNATURE STYLE (DESIGN)

     The thing that really makes Gehry’s building different between other buildings is that he tries to express his emotion to his buildings  (Susan 4). For instance, he expresses love for his wife and family in the building.  His buildings capture movement, energy and light (Susan 2). When light shines on the buildings, there is a feeling of liveliness. “the randomness of the curves are designed to catch the light” as mentioned by Frank Gehry  (Archinomy ) Frank Gehry starts                     Figure #3 (Gehry House)                  with a distinctive, fluid and symbolize sketch . His architectural feature is that it uses a variant form of atypical and unique materials to build structures. In the sense that a texture of skin and the surface of the flexible movement of the fish played a role as Initial icon for forming the identity of his buildings. The fish was not just for aesthetic value, but illustrated the location and other aspects of identity of the building. Later, he became interested in more abstract forms due to fish movement of flexibility, dynamism and mobility has led to the development of the curve in the current form. (Heskett, John)

 

     He is the one who demystifies the question of if architecture is art or not. Architecture is the study to make the place where you feel comfortable at the same time you feel safe when you are within that place. However, his building are more sculptural that people feel more like they are within the huge art work and they want to be in that space. “Frank was trying to conceive in his head shapes and forms and curves that were not particularly realizable by engineers,” 

 

said by Goldberger (Susan  5).

     Engineering makes his works to be in line with established standards ofconstruction. The standards concern the stability of the building amongst other benefits that renown to the owner of the building. Engineering also helps to determine the type of materials that can be used in the process of construction of the projects.

 

                         

                                          Figure #4 (Walt Disney Concert Hall under construction)

 

   His structures consists radically sculpted structures with organic contours . As Adolf  Loos, an Austrian architect said that “Architecture is not art, it is public. Art is the private affair of the artist”, it is hard to consider all architecture as an art. However, Frank Gehry express his forms in abstract sculptural facade. As he agreed with himself that he is a deconstruct architect, but he didn’t like it, his architectural language creates his own techniques, and it changes and we can truly see his evolution throughout the history. He puts his private affair of the movement of fish forms that he has seen. In additional, because he expresses his own style of architectural forms, the public response to it. I agree that art is something that is the private affair of the artist however, the public helps to make the art piece special by the way they response to it.

 

     His other name is “starchitect” which is the meaning of architects who are critical acclaimed and such an idols of the architecture world. Today, we see his works everyplace in the world such as Los Angeles, Barcelona, Hong Kong or Bilbao. His structures are welcomed to settle in. His works are becoming the hot spot and make tourists to come because of                  Figure #5 (Guggenheim Museum)           his unique material   quality and distorted shapes makes curiosity of people’s imagination of what will be inside of it. For example, Guggenheim Museum in Bilbao, Spain which was built in 1993 to 1996. This is a Expressionist modern style with steel frame, titanium sheathing, limestone and glass. This spectacular Deconstructionism museum attracts 800,000 non Basque visitors per year(The Bilbao Effect), Still, in every year, the museum attracts million visitors. (lacma.org) Also, 30,000 people come to Walt Disney Concert Hall Los Angeles in a year. The way through his journey to make this concert hall, he needed 30,000 drawings (Hooray For L.A).              

      Before this Guggenheim Museum structure was built, the city of Los Angeles did not have much employee or transport system. His works has power to pull people into the space because of his playful geometries of the building structures that it consists radically sculpted with organic contours. Also the randomly placed and designed curves on the facade were designed to catch the light so it pulls our eyes onto his building. (Archinomy) He puts the structural problem solving as the base of the design process , and the rest of the steps is based on model work including all the detail work. One of the greatest example of was this museum.

 

SIGNATURE STYLE (MATERIAL)

     Most of Gehry’s architectural 

 

structures are made out of metallic materials and it is because his grandfather worked in hardware store and he had opportunity to see them often  (Frank O.Gehry outside in 25). The material is playing a big role to give an opportunity to his building uniqueness in art form. His cheap materials of pre-eminent titanium helped to achieves his success. He uses exposing wooden frame construction with breaking volumes in to a dynamic geometries that are incomplete and using plywood, corrugated metal and chain link metal fences for his facade.He often wraps around the building with corrugated metal oraluminum. Every architects hated chain-link material and even himself, didn’t like it. However, he thought “why not try to make it beautiful?” (Susan 3) .For his own house , he used light wood frame, corrugated             Figure #6 (Walt Disney Concert Hall)         metal and chain link and materials for Guggenheim museum in Bilbao was made out of steel frame,titanium sheathing, limestone and glass (Archinomy).

 

SIGNATURE STYLE (BUDGET) 

     Frank Gehry’s gestural shapes are hard to construct stable architecture in a way that he designed it. However, as discussed in the above paragraphs, he tries to use a material that can save money. He also tries to change his models that actually can save money. For example, while his firm was working on the Guggenheim Museum in Bilbao, they realized that “flat is cheaper than bent (60% of the walls stayed flat); bent is cheaper than cut; machine-cut is cheaper than hand-cut.” said by Frank Gehry. (Lian Chang 6 ).

SIGNATURE STYLE (PROGRAM)

     The software allowed Gehry to make his dreams reality. In the late 1970s, the first generation architectural software was developed but it was still just a drawings. Also, the Guggenheim museum was done by the architectural design analysis computer program call CATIA. (Building art) Computer Aided Three Dimensional Interactive Application (CATIA) and visualization that came out to develop a facade first and                          

                     Figure #7 (CATIA)               completed the form by the interaction  

of inside and outside, were the most heavily used ideas on his structure designs. CATIA is a computer commercial software suite that was developed by the French company. Also, it is a digital model that uses parametric Bezier curves and 3D surface algorithms and C++ software package developed by an aerospace manufacturer. He uses this program to fabricate, construction process and also to arrange the bidding. Also, the program helps him to model accurately. Because he has so many irregular forms for his structure, it distinct from his architecture. (Archinomy) CIATIA software made it possible to simulate designs and come up with even complex structures that were beyond the imagination of his predecessors in architecture. It was capable of providing more detailed features than the former architects. 

 

     However, over the years, Gehry realized that the CATIA software limited them from designing further into the architectural details. Because, CATIA didn’t allow architects to support for plumbing and construction scheduling, he tried to find a new source for themselves. The result was he partnered with Dessault Systems, the aerospace manufacturers who made CATIA, and asked them to make a reprogram the CATIA so that they can use it for detailed architectural works. They developed a specific program called Digital Project (Lian Chang 7).

 

COLLABORATION WITH ART COMMUNITIES

     He was involved more with other disciplines than any other architects, particularly the fine art was the major impact on his buildings. Gehry consciously explored the expressive possibilities of linkage between the creature and historical art and architecture in the 1970s. His architectural styles manipulated with Japanese and vernacular elements in his early works. Also, he was influenced by artists who are painters and sculptors. Not just a random artists but who are sophisticated manipulation with sculptural masses molded by lights and building that reveals their structures. His best friends, Louis Danziger; designer and art director , Ronald Davis; American painter, Ed Moses; American artist in Los Angeles area and Larry Bell; contemporary American artist and sculptor impacted a lot to his construction techniques due to their fine art techniques .He achieved improvements from the ideas he got from the people he collaborated with some of them telling him of his flaws. He also wants to create a metaphorical common ground between architecture and art with collaboration with other artists. For example he realized how emotional art was and how it came out in architecture.His critical teacher of technique of combining the art and architecture was Phillip Johnson . He was an influential American architect and commonly known for his postmodern work since the 1980s. Goldberg discussed that the digital  tools drove  Gehry to meet up with his artist friends through the architecture. (Susan, 5 )

 

 

     Gehry is an artist because the way he built his structuresto operate with nature at its best. For instance, he build a river form to reflect different colors to show the different times of the day and position of the sun. For example, the East campus of the University of Iowa flooded in 2008. It was a devastating natural disaster that the campus had ever faced. It was placed flanked by the Iowa River and reservoir is right next to the campus on North. “The plan defined the roles of different departments, had instructions on how to build dikes and how high to build them, etc… We had a flood            Figure #8 (Frank Gehry Sculpture)           plan, It just didn’t anticipate a flood of this magnitude.” explains Guckert, University of Iowa’s associate vice president and director of facilities management. 

 

     Now in September, 2015, Frank Gehry just released his exhibition in LACMA, a museum in Los Angeles. His exhibition focused on mainly on two themes which is urbanism and the development of digital design and fabrication. He also included 3-D representations. Frank himself, distinguish him as an urbanist as his understanding of the city’s heterogeneous nature and its rhythms. He first starts his design by free-form sketches as any other artists. In year 1980-1990, Frank was highly influenced by architect and theorist called, Philip Johnson who designed “one-room building,”which is separating functional elements into discrete and heterogeneous structures. Throughout his approach to urbanism, he found a challenge himself by identifying the architectural form itself and redefining the assembly of the projects parts. I was walking through the exhibition and found many articles on the wall that identifies him as an artist. The building inside in museum gives total different feeling of architecture. Most of his hand-made models are existing in the real world but seeing it on the wall as a sketches, photographs and 3d models is making itself an art or sculpture that is made in small scale. The meaning of architecture being in the museum is giving us an idea of whether we can consider it as an art drawing or a sculpture.

 

WHY AND HOW GEHRY FRANK CREATED ART AND ARCHITECTURE

     In discussing about Gehry’s arts and architecture people think about architecture that depicts a stronger influence of abstract arts. Gehry was influenced by painting and sculpture in his approach to architectural designs. He is one of the artists that used art concepts to create his outstanding works. For instance, before starting to create his buildings and designs, he could take a time to go to the museum art gallery where he drew             

        Figure #9 (Frank Gehry and fish lamp)             his inspiration from painting and sculpture depending on the favorable occasion and the type of projects he was undertaking. From that experience, he could adapt the observed ideas to suit the nature of his work in order to make people to see, observe, and capture the imagination from his works every time they went to look at his buildings. Some analysts have claimed that Gehry was influenced by fish to create the arts and architecture designs. When he was a young man his grandmother gave him fish quite often and he used to play with them. He also remembers that his grandmother let him swim around in the family bathtub every Friday night.  From this perspective, his grandmother was a source of influence in his creations.

 

     His working process was different from the approach of other architects. In his digital era he began from the shape of the skin and the exterior surface and he went on to the secondary plans and structure, then finally shaping the spaces. This was a shift from the modernist process that commenced from the structural grid to the outside. He used five methods in his work and they are assembly, separating soaring, and liquefying in creating his works. Gehrys process involved preparation of drafts and models that were later fed into a computer program in order to reveal how the building will look and to relay an image of the building. He then kept on playing with the real and digital model until he was satisfied. After this he used the program to calculate the number of pieces of panel that were needed for the exterior of the building.  All these information was handed over to the construction and engineering department.

 

     Due diligence in his work would have also paid attention to the previous work he did and which he intended to reflect and magnify what he perceives as the ugliness in the environment. This is of critical importance since it is either a conscious or unconscious attempt to be ironical.  He produced and magnified what was perceived as bad and ugly architectural forms.

 

     There is a reason Gehry did not use or never considered titanium as a material for finishing artistic works. He preferred to use the material on structural and aesthetic grounds. For instance, titanium is preferred because it s good properties such as strength, non-oxidating material. It is, therefore, a material that remains the same forever despite the environmental conditions.

                                                       Figure #10 (Titanium Walt Disney Concert Hall)

     Gehry was artistic because he liked the idea of contrasting his architecture with the surrounding. For instance, when he spoke at the National Archive in 2011 he noted that the tapestreies were sort of creating space because the surrounding structures had different designs. In an ironic tone he mentioned that some people do not like them  as he contrasted the site with s picturesque setting. He argued that architecture in the area was made of large  buildings of the mid century that had brutalist aesthetic. They had little green space or ground floor for use in retail activity. His designs were also accomplished with simple materials. For instance, In 1977 he dismantled his own house that belonged to the pre-War period. The house was situated in Santa Monica. He was able to reassemble a new house and re-animated the house using cheap parts that looked like they had been salvaged. For instance, the chain like fencing, plywood and corrugated metal. He argued that he had done so to get rid off ugliness of his neighbor’s property in their faces. He glorified the use of low rent materials. To achieve such developments, one needed artistic skills. Gehry was observed to combine materials such as limestone and titanium that were both natural and could be found in the environment. For instance, the South wall, orthogonal blocks were made from Spanish limestone, that is a tan-colored material that blends harmoniously with the sandstone used in the 19th Century.  The limestone was rectilinear and its shape faced the city reflecting the classical interpretation of the museum and are used to express the continuity of the architectural fabric of the city.

 

     He also seemed to be sensitive to the Bilbao's visual landscape as seen in its manifestation and pronouncement.  He bonded metallic surfaces to the outside of the building. For instance, color blending came out clearly in his building and showed how he used art in his architectural works.  The metallic surfaces outside of a building marked as the hallmark for Gehry’s work.  His application of titanium, which is a highly prized material because of tensile strength than the surface qualities had a special comment. He chose titanium over still because of the challenge of high reflectivity.

 

     Like other artists, Gehry was creative in his approach to design, in some of his designs he involved the mind to think about the things that were happening in his neighborhood. As a middle-class citizen, he made observations of how the neighborhood looked and came up with unique designs.  “There‘s a smugness about middle class neighborhoods that bothered me, I guess.Everybody has their camper truck in front. Everybody has their boat in front. There‘s alot of activity related to hardware and junk and cars and boats and stuff. And the neighbors have come around, some of them come and say, ―I don‘t like your house.‖ And I say, what about your boat in the backyard? What about your camper truck? It‘s the same material. It‘s the same aesthetic. And they say, ―Oh, no, no. That‘s normal. I was always surprised that other people don‘t see it. It seemed so obvious. I can‘t believe it that somebody doesn‘t see it. It just seems so obvious to me that one should use chain link because it‘s such a pervasive material.” (Gehry)

 

     He argues that most of the people had bought their houses for  $15,000. This was definitely a middle-class neighborhood, and they fixed their cars on the lawn, and they also ha trailers with boats. The whole neighborhood looked messy. Gehry used their normal messy environment and tool it to his own house where he engaged the mind  and played with them. He was able to come up with aesthetics within the normal messy environment. He made them establish the connection                 Figure #11 (Frank Gehry House Neighbor Hood)

even though they did not like his thinking. He claims that it was like showing them their face in the mirror and they could say that it was not normal. The chain-link fences and the junk cars were a common feature of the neighborhood. This neighborhood was also associated with beer-drinking, baseball. With these elements, the artist was able to pick new ideas and reflect them in designs that tickled the people.

 

     Gehry maximized on the abilities of the computer as a tool that could help in arriving at new sculptural forms that he imagined. For instance, in his works, he showed preparation for both functional quality and artistic expression. He started pragmatically from inside out. In the beginning, he could take rectangular wooden blocks that meant the elements of the program in order to determine the organizational schema. He could start with the basic rectangle that had the functional space and could break down the geometrical shape into distinctive parts and later assemble them in a different manner. This ability gave him the name of the deconstructive architect of the late 20th Century.

 

      He began shaping the models like clay, which shows his artistic skills and later decided to form them into the functions that they were supposed to carry. His architectural elements were not carrying technical functions, but some of them are added as compositional elements that could help Gehry to express his emotions or themes in his buildings. In the end, he was not seen to create pure geometrical forms. His aim was rather to create a meaningful continuum in form. He could be seen as one of the grounds for calling him as an artist in architecture. Robert Wilson ended up describing him as an architect who thinks like a sculptor with his signature.

 

     Gehry used architecture as a medium for self-expression, and he ended up creating expressive forms out of standards. Despite the  fact that the orthogonal forms of modern architecture express roughness, strength, structural constancy, constructional security, durability, permanency , dominance, and familiarity his organic forms  showed softness, tactility, lightness, activity energy    

        Figure #12 (Marques de Riscal Vineyard Hotel)         dynamism, temporality variability and familiarity. Modernism is a means of understanding the direct ways of making things.  The said direct way has the implication that the most appropriate form a specific function is achieved. For instance, there was excessive quality in Gehry’s work , in which the non-functional architectural elements that complete his compositions such as the ceiling of the fish gallery in Guggenheim Museum Bilbao. It therefore separates the structure from the works of modernists architecture through creation of fabricated standard solutions. This was used to serve the interests of the industrial economy of the 20th Century. Taking the example of the Le Corbusier’s plan Voisin, that seemed to suggest a center of industry in Paris, was using a fabricated elements of construction to be included in a number of buildings that are identical. The approach of Gehry appeared to be in contrast to their approach because of the fact that he saw a building as a sculptural object that came with its own peculiarities. For instance, the sculptural quality of the building was given first priority in his work.The new architecture was described in terms of changing life in modern cities in the early 20th Century and was characterized by mass production. Gehry seemed to stand against the whole idea of expression in the modern cities with individual buildings and forming a harmonious whole with their different features.

 

     Because the main medium of self-expression through the form of art, it follows that Gehry produced the art of architecture. His architectural forms evoked a sensation of appreciation and excitement, and it elevated imaginative power of the viewer or observer. It also serves the purpose of freeing the mind from the traditional norms of architecture and makes the user to perceive it as if it is an artwork. Besides the function that the spaces carry. His designs seemed to be organically integrated masses bounded to the compositional schema. For instance,  at the Guggenheim Bilbao Museum, there is a general feeling that natural forces have caused the building to take its shape in the course of construction. This is because the fluid masses look like they took their own forms with the strong blow of the wind from the different directions and the shapes appear like they have been squeezed by the use of hands and have been organized in an organic manner.

 

     When one feels the touch everywhere in the museum, it gives the impression that this interesting product of technology was made by hand. Artists such as Robert Rauschenberg have expressed their liking of the space and claimed that it was awesomely man-built space that has ever been experienced by visitors. It has an impact on the spirituality of man other than the enlightening. Gehry did some good work on three-dimensional forms, something that many architects had as a dream. They dreamt of making a painterly building. This was driven by the fact that in painting, there is  the feeling of immediacy. He argued that that issue had remained elusive for him to find it in architecture. For instance, the impressionist painting is so emotional such that it gets the observers involved and they can feel it. There are so many readings that can be given from the painting because it is not just one thing. He argued that these features motivated him in his work of art and architecture.

The artist also believed in originality that made his work to be unique and interesting before the eyes. Even when he had finished building, he could feel that it was precarious to himself because it never looked like something else he had seen. He was in fact worried that it was bizarre, and he felt self-conscious about what he did and wanted to hide. For instance, when he first set his eyes on Bilbao for the first time he felt that he had done something to the people, but he believed that what he had done was good for the people.

 

     Gehry was not a fan of sustainable design as observed from his works; It has been argued that most of his architectural designs are highly significant in art and culture, but have little value to the surrounding environment.  His architectural designs barely meet the criteria of environmental suitability. This has been observed in areas where his buildings are located. Some of the buildings have contributed to a negative impact on the local environment. Gehry strongly believed that sustainability in designs is a political issue and is costly during the design process.

 

     In summary, it can be argued that Frank Gehry’s works of architecture were considered as art because of the innovations and expressive quality that was also applied in his work. He had functional areas that seemed to be independent from the excessive sculptural skin that enveloped them as they appeared to be gathered in a schema, which enabled them to utilize the interior spaces easily. The exterior planes were seen to be some of the works of art.

 

 

 

 

Images

Figure #1 : Frank Owen Gehry / Toronto, Canada 28 February 1929 / To show who is Gehry.

(http://www.ateliercourbet.com/frank-gehry/)

Figure #2 : ‘The Dancing House’ / Frank Gehry / Prague, Czech Republic 1992-1996 / To show the example of Deconstruction Architecture.

(http://ruktam.blogspot.com/2013/06/deconstructisivm.html)

Figure #3 : ‘The Gehry House’ / Frank Gehry / Santa Monica, Los Angeles 1991 / To show how he expresses love for his wife and family and his emotions to his building through how the lights coming in.

 (http://openbuildings.com/buildings/gehry-house-profile-41230)

Figure #4 : ‘The Walt Disney Concert Hall’ / Frank Gehry / Downtown, Los Angeles 2003 / To show the engineerings and construction details through the picture.

(http://www.dpreview.com/forums/post/8349007)

Figure #5 : ‘The Bilbao Guggenheim Museum’ / Frank Gehry / Bilbao, Spain 1997 / To show how the Guggenheim Museum look like

(http://www.theguardian.com/commentisfree/2012/may/04/guggenheim-helsinki-dream-go-sour)

Figure #6 : ‘Walt Disney Concert Hall’ / Frank Gehry - Picture by Mathijs van den Bosch 

(https://www.pinterest.com/pin/314126142735719939/)

Figure #7 : ‘CATIA’ Program

Figure #8 : Frank Gehry Sculpture

Figure #9 : Gehry stands next to his fish lamps at the opening of an exhibition in London in 2013. / To show the idea of him and his grandmother’s bath tub fish.

(http://www.npr.org/2015/09/10/438944405/frank-gehrys-lifelong-challenge-to-create-buildings-that-move)

Figure #10 : Titanium Walt Disney Concert Hall / To show how he uses his Titanium materials with his works.

(https://www.pinterest.com/hseyindin/mimar-frank-gehry-architect-frank-gehry/)

Figure #11 : Frank Gehry House Neighbor Hood / To give a sense of how his house and the environments go with flow.

(http://www.iamnotastalker.com/2010/12/29/architect-frank-gehrys-house/)

Figure #12 : ‘Marques de Riscal Vineyard Hotel’ / Frank Gehry / Elciego, Spain / To give the audience a sense of his self-expressing the emotions through his architecture.

(http://www.mdgarcia.com/2010/03/frank-gehry-design-process.html)

 

 

 

Works Cited

    1. “The Bilbao Effect from poor port to must-see city” The Art Newspaper Oct 2007. 

    Print.

    2. Lotz, Wolfgang. “The Rendering of the Interior in Architectural Drawings of the 

    Renaissance.” In Studies in Italian Renaissance Architecture, 1-65. Cambridge, 

    MA:MIT. Press, 1977.

    3. Jan Greenberg, Sarah Jane Jordan. Frank O.Gehry Outside In. DK, Publishing.

    2000. Prints.

    4. Eric, Wills. “‘Building Art: The Life and Work of Frank Gehry’ review.”

    Washingtonpost. September 21. Web. 26 Sep.2015.

    5. Los Angeles County Museum of Art. “About the exhibition”. lacma.org. 26 Sep.  

    2015

    6. Heskett, John. “Design: A Very Short Introduction” Art. June 2005. ProQuest.

    Web. 26 Sep. 2015.

    7. Susan Stamberg. "Frank Gehry's Lifelong Challenge: To Create Buildings That

    Move" NPR. Sep 10. 2015Web. 01 Oct. 2015.

    8. Simona Maschi, Nille Juul-Sorensen Kigge Hvid. "JOHN HESKETT: OUTTAKE AND 

   NOT BEING A DESIGNER"  2013. 

    9. Barbara Isenberg, “Travels with Frank Gehry,” HuffPost Style, accessed June 27,

        2010.

    10. Eric, Wills. “‘Building Art: The Life and Work of Frank Gehry’ review.”  

          Washingtonpost. September 21. Web. 26 Sep.2015.

    11. Jan Greenberg, Sarah Jane Jordan. Frank O.Gehry Outside In. DK, Publishing.

         2000. Prints.

    12. Heskett, John. “Design: A Very Short Introduction” Art. June 2005. ProQuest.

         Web. 26 Sep. 2015

    13. Lazere, Arthur. “Guggenheim Museum Bilbao—Frank Gehry.”Culturevulture.net. 

         May 2002. <http://www.culturevulture.net/ArtandArch/Bilbao.htm>

    14. Los Angeles County Museum of Art. “About the exhibition”. lacma.org. 26 Sep.

         2015

    15. Sydney Pollack. sketches of Frank Gehry. Video.

    16. Susan Stamberg. "Frank Gehry's Lifelong Challenge: To Create Buildings That

          Move" NPR. Sep 10. 2015Web. 01 Oct. 2015.