Many of Frank Gehry’s early works reflect a refined manipulation of shapes and structures, whereby many of his buildings present distorted shapes or apparent structures. From the Guggenheim museum to the Walt Disney concert hall, Frank Gehry’s architecture is close to none. He cleverly plays with shapes and geometries. In this essay, I shall start with a brief analysis of Gehry’s house and the influences in the design of the house. I shall then analyze the extent to which Frank Lloyd Wright has inspired and influenced Gehry in the design of his house through a comparison with Frank Lloyd Wright’s Jacob’s house. Gehry draws his inspiration from famous paintings such as the Madonna and Child which he qualifies as a “strategy for
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(Friedman M. , 2003, p. 54) Through his work, Frank Gehry can be considered as an artist rather than an architect. His own house is one of the best works of art he has ever produced. In many of Gehry’s early works such as the Danziger building , we learn about his worry of “the translation of ideas through the many people involved in the process of making a bulding” (Friedman M. , 2003, p. 44), which according to him “drain the strength and power out of an idea” (Friedman M. , 2003, p. 44); but in his “Own House” however, he proves us that his worry only makes his ideas and designs more powerful. He makes use of large openings, peculiar wall cladding or large lighted rooms as well as visible structure frames to reflect the postmodern style of the house as well as to convey his wish to bring architecture to its roots, to its bare beauty .
What Gehry loves about architecture and what is reflected in the style of his Own House is “the humanity of it” (Friedman M. , 2003, p. 42). The barricading of the old house reminds us of artists such as Christo and Jeanne Claude with the Rheimstag wrapping while the angled protrusions and “cuts” through the old house shows Gordon Matta Clark’s influence in the style of the “Own House”. Gehry says in an interview that his desire to use metal as a primary construction material came with Donna O’Neill’s hay barn, for which he used metal because he could now “make a very tough sculptural shape” (Friedman M. ,