Snyder in Hannover

Gary, Frank (Frank Gehry, present name Ephraim Owen Goldberg) is an architect and designer close to deconstructionism.

Frank Gary was born in 1929 in Toronto. Grandpa Gary, an immigrant from Poland, was involved in the construction materials trade; his father was the owner of a vending and gaming machine store in the city of Timens (Ontario). As a teenager, Gary was confronted with crude anti-Semitism, and the psychological trauma after the beating prompted him to change his last name and move away from the Jewish traditions of the family.

In 1947, Frank Gary moved to California, received American citizenship and began his studies. Since 1954, after graduating from the School of Architecture, Frank began working in the company of Victor Gruen and partners and continues his apprenticeship. After graduating from Harvard Design High School, Frank moved to Los Angeles and briefly worked with Pereira and Lackmann, and then returned to Victor Gruen’s workshop, where he worked until 1960.

In 1952, Frank Goldberg married Anita Snyder, who insisted that he change his last name. So Frank Goldberg turned into Frank Gary. From the marriage with Anita, Frank has two daughters left. In the mid-sixties, Frank divorced Anita and in 1976 married again to Berta Isabel Aguilera (Berta Isabel Aguilera), his current wife, who bore him two sons Alejandro and Sami.

In 1961, Gary with his wife Anita and two daughters moved to Paris and worked in the workshop of Andre Remondet. During the year, Frank studied the works of Charles Le Corbusier, and Balthasar Neumann and was engaged in the restoration of French churches.


In 1962, Frank Gary returned to Los Angeles and founded his own studio (Frank O. Gehry and Associates. In 1979, it was transformed into Gehry & Krueger Inc., and in 2002 Gehry Partners, LLP was established. The first works of the studio – projects of shops, shopping centers, interiors. At the beginning of the seventies, he designed many private houses, the distinguishing feature of which was the exclusion of the usual, traditional forms.

Snyder in Hannover

Frank Gary, Walt Disney Concert Hall, photo

In 1977–1979, he designed and built his own house in the style of “anti-architecture” in Santa Monica and continued a series of experiments with residential buildings that were embodied in the buildings of Ronald Davis Studio, Malibu, De Mesnil Residence , New York) and Spiller Residence in Venice (Spiller Residence, California).

Frank Gary, Massachusetts University of Technology Building, photo

Own house is a rebuilt bungalow of the 20s. Frank Gary wanted to experiment with used building materials – metal, plywood, pieces of mesh fences, trimmed lumber. He set himself the task of completely transforming the facade of the building, without touching its internal appearance. He worked especially hard on the rear and southern facades, protecting the other facades with prefabricated glass cubes.

Frank Gary, Guggenheim Museum Bilbao, photo

Already at that time, Gary’s ability to create large-scale compositions became apparent, as evidenced by the complex of supermarkets (and parking sites next to them) in Santa Monica (1979-1981). These compositions resemble traditional buildings, but only resemble …

Snyder in Hannover

Frank Gary, furniture collection, photo

The 1979 project of the Maritime Aquarium Museum in Cabrillo in San Pedro covers an area of ​​almost 2,000 m² and is fully demonstrated: freestanding buildings and chain-barriers. These “shadow structures,” as Gary called them, visually bind structures into one complex.

K 1981 is another very famous building designed by Frank Gary – California Aviation Museum (California Aerospace Museum).

Frank Gary, Seattle Music Museum, photo

The end of the eighties – one of the most fruitful in the life of Frank Gary. In various parts of the world, several of his major projects are being implemented at once. In Germany, in the town of Wail am Rhein in 1989, the museum building – the Vitra Design Museum was built. This is a private museum, the main collection of which – furniture and interiors. Then he designs the eighty-story building at Madison Square Garden in New York. American art historians compare this building with the works of the Romanian sculptor K. Brunkushi.

Frank Gary, Hanover Office Building, photo

In the late 80s, Gary won the competition for the design of the Walt Disney Hall at the Music Center in Los Angeles. The massive center building, decorated with a light soaring glass atrium, was completed in 1993. At the same time, at the end of the 80s, according to the project of Gary, the building of the Fishs restaurant was built in the Japanese port of Kobe with a huge fish sculpture in front of the entrance.

In 1989, Frank Gary created the building, for which he was awarded the Pritzker Prize (Pritzker Architecture Prize), one of the most prestigious in the field of architecture. This is the Buddhist temple of the Todaiji Buddhist Temple in Nara, Japan.

Frank Gary, Todaiji Buddhist Temple, photo

Gehry owns the most famous examples of deconstructivism architecture – the Frederick Weismann Museum in Minneapolis (1993), the Guggenheim Museum in Bilbao (1997), sheathed with titanium sheets, the Concert Hall. Walt Disney in Los Angeles (2003), as well as the “dancing house” in Prague (1995). A much less warm welcome was waiting for the Geert Museum of Music in Seattle, designed by Gehry, commissioned by Paul Allen (2000).

Snyder in Hannover

Frank Gary, “Dancing House” in Prague, photo

But in fact, many of his projects are rather an illustration of what he calls deconstructivism (that is, formal experiments on the “decomposition” and deformation of the outer and inner shells). Frank Gary creates aesthetically unusual objects, deconstructs the illusory integrity of architecture, but he does not try to rethink globally the very history of European architecture, or deconstruct its basic principles. The works of Frank Gehry become completely arbitrary and geometrically sculptural and relate only to the whims of his compositions – and this, according to colleagues, is a certain danger. His deconstructivism is disintegrating volumes, coarse, crumbling surfaces, the use of literally broken traditional architectural elements.

Frank Gary, Weisman Art Museum, photo

Frank Gary has been awarded more than a hundred awards, including the prestigious Prize-winning Prize in Architecture in the United States (1989); Numerous articles and monographs are devoted to his work.

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