SRA323
CONTEMPORARY ARCHITECTURE: designerure after 1968
LECTURER: Mirjana Lozanovska
ASSIGNMENT: Long Essay
TITLE: Interpretation of an couturier: Frank Gehry
MIRANDA HOBDAY
100206369
DUE DATE: O3.06.03
Miranda Hobday
100206369
Interpretation of an Architect
Frank O. Gehry
In order of magnitude there exists an ever-present involve to commit things to categories. Whether it is people, plants, animals, food, fashion, or stratagem we seem to always sustain labels. Why? Is it because it makes aspects of day-to-day life easier to understand or more(prenominal) accessible? Does it make remembering things or learning roughly them more straightforward? Or is it that as a society we are unable to accept that unfamiliar aspects or objects whitethorn be of equal, if not more, value than those which are able to be categorized? This need to classify or label is a dominant theme when discussing the work and career of Ameri notify architect Frank Owen Gehry. Throughout his career his designs have created many theories, views, opinions, and breakthroughs in the architectural world and inevitably critics and theorists have tried to jell a brand name on him and his creations. Is he a Modernist or Post-Modernist? Is he a Cubist? Is he a Deconstructivist? Is he an creative person? Does he produce pieces of computer architecture or works of art? But the most crucial and valid question is can he indeed be categorized?
Does his work, or or so part of it, fit characteristics which define a type within contemporary architecture? Maybe it is this ambiguity which makes him so controversial? For the fact that Gehrys creations swing out many themes and theories across four decades is exactly the aspect which sets him aside from his architectural contemporaries.
When he reconstructed his Californian home in 1978 using unconventional materials such as chain-link, plywood and corrugated stainless steel, Gehry was catapulted to international attention. This structure...
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