• 한국디지털건축인테리어학회논문집
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• 제13권4호
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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.

• 대한건축학회논문집:계획계
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• 제34권2호
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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.

• 한국실내디자인학회논문집
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• 제16권1호
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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.

• 디자인학연구
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• 제16권2호
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• pp.219-232
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• 2003

본 연구는 조형언어의 변화가 심하여 일관성을 찾기 어려운 작가로 알려진 프랭크 게리의 조형작업 및 언어의 변천과정에 대한 분석 연구이다. 게리의 작업은 일관성이 없이 "우연"이나 "혁명적 변화" 혹은 "즉흥성"에만 의존하는 것으로 알려져 왔으나, 본 연구를 통하여 연구자는 그의 작업 및 조형언어의 변화는 오히려 일관된 주제를 가지고 하나의 방향으로 "필연적인 진화"를 하고 있음을 주장하였다. 게리의 작업시기를 4 시기로 분류하고 공시적, 통시적으로 그 특징들을 고찰, 분석한 결과 게리는 공시적 상황들을 주제로 하고 그것을 메타포를 통하여 가시화하기 위하여 재료와 형태를 수단으로 이용하고 있음을 알 수 있었다. 따라서 본 연구자는 이러한 필연적인 진화과정으로서의 형태언어를 지닌 게리를 해체주의자로 분류하는 것은 오류임을 지적하였다. 형태언어를 지닌 게리를 해체주의자로 분류하는 것은 오류임을 지적하였다.

• 건축사
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• 통권606호
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• pp.104-107
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• 2019

• 한국실내디자인학회논문집
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• 제13권5호
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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.

• 한국실내디자인학회논문집
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• 제20권5호
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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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• 통권196호
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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.

• 한국실내디자인학회논문집
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• 제13권3호
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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.

• 공학논문집
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• 제6권1호
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• pp.65-74
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• 2004

본 연구는 현대건축에서 창조적인 공간화로 요약될 수 있는 새로운 개념에 대한 해명을 목표로 한다. 고전적 바로크 개념의 기능가치를 기반으로 하여 본 연구는 현대 건축가인 프랭크 게리에 의해 시도된 주름과 비틀기 건축을 분석함으로써, '바로크적인 것'의 현재적인 의미를 드러내고자 한다. 새로이 정의된 '바로크적인 것'은 가장 경험적인 것이라는 의미에서 실재적인 것으로 인식되어야 하며 또한 분산적인 특징을 지니는 변형적이고 탄력적인 이미지들의 사슬 속에서 작용한다. 게리의 신 바로크 건축의 전형적인 도구는 공간을 에워싸고 주름잡는 것이다. 이 같은 건축이념은 들뢰즈의 철학적인 바로크 개념에 맞닿아 있다. 들뢰즈의 바로크 개념은 주름들 간의 긴장관계를 의미하는 것으로, 공간의 변화는 이러한 긴장관계의 수축과 확장에 의존해있는 것이다. 힘의 자유로운 분산이라는 신 바로크 개념의 일반원리를 통해 건축가에게는 실재세계를 현실적인 삶과 가장 밀접하게 만들 가능성이 제공되며, 향유자와 관찰자에게는 자기 내부와 자기 주위에서 작용하는 생동적인 힘을 감지할 가능성이 부여되는 것이다.