"Frank Gehry's death will feel like a seismic event, even to people who never learned his name but knew "that crazy silver building" in their city. Born in Toronto in 1929 and raised in Los Angeles, he moved through the twentieth century like a restless experiment in motion, turning cardboard models into titanium-clad landmarks and treating cities as full-scale sketchbooks."
"Gehry treated architecture as a narrative medium, not a neutral backdrop; every warped surface and improbable curve suggested a story about risk, uncertainty, and delight. He pushed software, fabrication, and engineering to their limits long before "parametric design" became a buzzword, yet he remained suspicious of fashion and theory, insisting that buildings should be humane, tactile, and a bit mischievous."
Frank Gehry emerged from Toronto and Los Angeles roots to produce titanium-clad, sculptural buildings that prioritized emotion, instability, and theatricality over strict rationalism. He converted simple cardboard models into complex, expressive forms and treated cities as full-scale sketchbooks. Gehry pushed software, fabrication, and engineering to unprecedented limits while maintaining skepticism about fashion and theory. He framed architecture as a narrative medium whose warped surfaces suggested risk, uncertainty, and delight, and he insisted on humane, tactile, and mischievous qualities. His work provoked debate and civic pride, recast the role of the starchitect, and encouraged younger architects to treat briefs as starting points rather than constraints.
Read at Yanko Design - Modern Industrial Design News
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