The Evolution of Dynamicity in Architecture of Frank Gehry

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The Evolution of Dynamicity in Architecture of Frank Gehry

Chuloh Jung^1*, Nahla Al Qassimi¹, Jihad Awad¹

1 Department of Architecture, College of Architecture, Art and Design, Ajman University, United Arab Emirates

*Corresponding Author: [email protected]

Accepted: 15 August 2021 | Published: 1 September 2021

___________________________________________________________________________

Abstract: Innovative architect Frank O. Gehry had changed the practices of architecture with his avant-garde designs actualized with high-tech software. He has created extremely dramatic, unconventional, and twisted forms with very unorthodox materials. The objective of this paper is to extract the common denominator or vocabulary of the ‘sculpturesque’

dynamicity of Frank Gehry’s architecture through times. To provide an overview of Frank Gehry’s philosophy and design concept, the key aspect was extended to reality with the interaction during pop artist era in the early and mid-period alongside the advantage of design computation in later years. The expression of dynamicity was also evolved from tension and movement as the expression in fine art with respect to the combination of non-linearity, fractal, folding, and dynamic of colors combined with the technique of design computation, which includes reverse engineering and building information modelling. To extract these elements, the exploratory technique of research is applied. Establishing the desirability of the research, the literature and writings on Frank Gehry were analyzed based on longitudinal study with reference to his previous works and the verbal connotation of his reaction during the interview concerning his works. The result of the analysis is equated with his original way of design, observing his cutting-edge application through latest computation simultaneously. He had read the zeitgeist well and pushed the limit of his understanding of tectonics by using proper material for his projects such as platinum plate with high flexibility for economic feasibility to achieve the expression of next level dynamicity. Finally, Frank Gehry’s architecture, therefore, can be understood as the pioneer of new dynamicity in architecture without interpreting his works with deconstructionism philosophy.

Keywords: Frank Gehry, Gehry Technologies, Dynamicity, Architectural Form, CATIA __________________________________________________________________________

1. Introduction

The architectural language of dynamicity was applied before modern architecture, but architects started to fully explore it when they had experimented the art and visual perception with the methodologies of science and psychology (Rees, 2018; Okwudili, 2016; Beim et al, 2015). The objective of this paper, therefore, is to extract the common denominator /vocabulary of the sculpturesque dynamicity of Frank Gehry’s architecture through times. After the transition of diversification in the 1970s and 1980s, followed by de-constructivist movement of 1990s and dramatic development of design computation software in 21st century (Isenberg, 2012), the architectural language of dynamicity became more diversified as a new architectural vocabulary (Goldberger, 2015). Evocatively, Gehry’s life is surrounded with artworks and artist, hence, his design is greatly influenced by elements of Picasso’s cubist works (Pauker, 2013; The Guardian, 2004). Further to the development of digital software, bits and pieces of cubist and chaotic arts fragments disseminated into a controlled chaos of Gehry’s architecture

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(Gehry et al, 2020; Tubielewicz-Michalczuk, 2019). To understand the characteristics of the vocabulary of dynamicity in non-linear architecture, the design methodologies of Frank Gehry can give us a central theoretical discourse since his design methodologies had transformed through times and reflected the zeitgeist as well (Balboa & Scaroni, 2017).

2. Literature Review

Frank Gehry had interpreted our era as disarray and had a faith that the spirit of democracy expresses itself chaotically (Ponzini & Nastasi, 2016). The definition of democracy, according to him, is the pluralism and the collision of ideas, which lead to the chaos but not only a political and sociological chaos but also a visual one (Srinivasan, 2010). He believes this chaotic imperfection of our time should be reflected in art and architecture (The Washington Post, 2018). This is the reason why his projects were responded to our time and constantly changing the world and address chaos, express the controversial pleasures of discomfort, and stimulate unpredictability (Fixsen, 2014). He believed that architecture is beyond utilitarian, and he immersed himself in the tone and properties of materials where he used the term as “… the sense of transferring the feelings of humanity in the materials” led chaotic buildings became poetic, later laypersons can do their own interpretation of the building (Bridge, 2015; Bae &

Cho, 2011). With the extension of the interpretation of chaos, he sees movement as a part of his architectural vocabulary and believes that movement is pervasive in our zeitgeist like chaotic of fast society without rules (Forbes, 2015).

His perspective to modern architecture is dry and cold (Ponzini, 2014). He denoted at existing urban architecture as unfriendly, faceless boxes, which led him to generate a new chaotic language (Shaw, 2015). He dismantles the boxes into broken pieces, reassembles them in new non-linear forms, and put the sense of order into challenge (Wacker, 2021). This methodology is associated with “Deconstructivism” but now more evolved with the technologies as he established GT (Gehry Technologies, LLC) (Shelden, 2009). Even though Deconstructionism stems from the philosophical writings of Jacques Derrida, he never read these writings and refused to be called as a deconstruction architect since he uses a personal articulation of ideas as his design motives and it reflects his design philosophy related to art, humanity, and time (The Guardian, 2017; Bennis, 2003). Frank Gehry advocates that an architecture is corresponding to a piece of art (Pollack, 2006). The manipulation of the constraints of the project leads to the expression, which is essential in architecture (Gilbert-Rolfe & Gehry, 2002). He stated that buildings cannot be faceless like the ones produced during the modernism era (Shiner, 2011). This is the reason why each of his buildings is designed as a sculptural object or painting. His inspirations come from early artwork and his encounter with artists, and he pushes the limits of inconclusive for his design as that of cubist artists such as Pablo Picasso, Marcel Duchamp, or Giorgio Morandi (Sommer, 2017). There is no definition of beauty or ugliness, right or wrong in his design process since his architecture has no definite rules but open-ended and experiential like fine art (Lee, 2018). The sculptural images of his building express his intention (Hanson & Herz, 2011).

His judgement towards the modernism is the loss of a sense of humanity (Snyder, 2016). He believes that people are the most important thing in architecture, and he wants to inspire and accentuate the environment for the people to appreciate his designs (CBC, 2015). This is the reason why he uses chaotic expression to humanize architecture, enrich the human experience, and create places that people like to experience (Patterson, 2012). Engaging people's feelings, which means finding ways to express feelings and emotions in architecture is crucial to him.

He uses the humanizing qualities of decoration, dissimilar to Post Modernism from the time

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when he ruminates the language of architecture to speak of its time and place without encumbrance to history (Bodo, 2018; Kauffman, 2012). Frank Gehry introduced a highly experimental design process and creates his designs through his intricate and meticulous design studies (Mitrache, 2012). As soon as he starts a project, he started to understand the problem from inside out with his hand sketches (Foster, 2013). He draws spontaneous, bold sketches until he finds his definite sculptural forms. Eventually sketches evolve into a series of models with the help of reverse-engineering technologies (Smith, 2011).

Even though Frank Gehry is a well-known figure for his geometric complexity, he preferred to achieve conceptual design by drawing hand sketches and making physical models while most architects started manipulating 2D surface on a computer screen (Samdanis & Lee, 2017;

Szalapaj, 2014). While digital models create a distance between architects’ perceptual thinking and objects, architects could get access to the direct manipulation of physical variables like material properties through handmade physical models (Iwamoto, 2013). In his design process, the pragmatism of models maintains its prominent identity for possibilities of unexpected conception (Junaidy & Nagai, 2017); at the meantime, the adaption of digital models further exploits the potentiality of these material constructions, exhibiting a close interrelation between digital and physical realm (Bottazzi, 2018). From this perspective, the understanding of realizing translations between physical and digital models to utilize the full potential of perceptual and rational thinking at the conceptual and detailed level is of utmost concern to architects (Stavric & Marina, 2011).

Even though current mainstream of CAAD research is focused on the architectural modeling from digital to physical, especially the application of the digitally-driven fabrication process, such as CNC milling, 3D printing and robotic technologies (Gehry et al, 2020; Lee et al, 2013), Frank Gehry, however, preferred to construct large-scale physical models in the design thinking process with the help of GT’s reverse engineering technologies.

3. Methodology

This study was exploratory and interpretative in nature. The paper aims to analyze the diverse expressions of the dynamicity in Frank Gehry’s architecture observing the design principles of harmony, balance, order also considering the contextual information which includes history and background of what the intention of his work is going to be. To extract these elements, the exploratory technique of research is applied. The literature and writings on Frank Gehry were analyzed based on longitudinal study with reference to his previous works and the verbal connotation of his reaction during the interview concerning his works. The conceptual factors in contemporary architecture such as tension, movement, dynamic of colors, material expression (psychological factors in art and visual cognition), non-linearity, fractal and folded space (contemporary architectural concept) will be examined corresponding to the existing design principles of architectural design of our time. Throughout this inquiry process, the regional characteristics of the projects and social implication will be explored to generate examples as well as sampling of diverse projects built in 1960 to 2020. These explorations are crucial to the approach to cross-examine his architectural thinking, the expression of the zeitgeist and the analysis of the common denominators of dynamicity. The pictorial analysis of Frank Gehry’s projects will be categorized with chronological order with the time frame as early as 1950s until 1970s, intermediate stage of late 70s until late 1980), later, the era of 1990s until today. Based on the analysis of the dynamicity of design, the progress accelerated by digital media expression – the elements of buzzy logics through the dynamicity of nonlinear forms, the dynamicity of architectural material, color is among the comprehensive conclusion

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that will be deducted. The contemplation of dynamicity in architecture is explained via perceptual forces as illustrated through tectonics principles.

4. Analysis

The concept of dynamicity had been seen through the history of architecture (Pottmann, 2010).

If it was passively applied for the recognition in modern architecture, now it became an active artistic expression in contemporary architecture as nonlinear, fluid and indefinite paradigm emerges (Lin, 2013; Lee & Lee, 2011). With the rapid proliferation of digital media in 90s, architectural design transformed from the simplicity of modernism to systematic complexity when architectural theories and practices become more pluralized (Picon, 2010). Rivalled to normative grid and Cartesian space of modern architecture, the trend to design amorphous, nonlinear dynamic space in plans, elevations and sections is easily recognized in contemporary architecture (Dalton et al, 2016). It means that the dynamicity in contemporary architecture became the major active way of design expression.

4.1. The perceptual forces for dynamicity in architecture

The perceptual forces of dynamicity are generated from human’s perception of the interaction among many environmental factors in surroundings (Hoteit, 2015; Martin, 2011). The perceptual forces for dynamicity in contemporary architecture can be defined as below.

4.1.1. Tension

In his book, Rudolf Arnheim mentioned that “visual experience is dynamic” while Art and Visual Perception explained tension as visual effect, perception of direction, occlusion, dynamic inclination, deviation, visualized physical forces and dynamic layout (Arnheim, 2010). He added that tension will be visualized by the lack of stability, imbalance, contrast, unaccustomed things, imperfect color, forms or lines of narrow angle, irregular light, or limited movement layout (Arnheim, 2020). Tension is one of the most important conceptual tools to recognize the dynamicity in art or architecture which cannot be moved.

4.1.2 Movement

The way people perceive the movement can be categorized as follows; first of all, the experience of observer as a moving subject in psychological point of view, latter, the experience of observer’s moving within a space, and observer recognize the dynamicity with visual cue and thirdly, based on the event theory of philosopher of Gilles Deleuze, where he posits that event makes certain relationships, while time change and dynamicity make thinking mechanism dynamic (Deleuze, 2020).

4.1.3 Color

The dynamicity of color is related to the color combination which induces psychological reaction (Eiseman, 2017). Red is the most dynamic color. Orange tone can express the feeling of vitality and passion and red tone colors become very intense when it combines with other colors. Purple tone is commonly used for dynamic combination in color and the collisional color combination between yellow and green induce the instant excitement (Agoston, 2013).

4.1.4. Material

Rudolf Arnheim mentioned that sensuous architectural surface wraps the building, links the regional environments and urban spaces, absorbs the light and sounds, and reflects the energetic tensions (Arnheim, 2010). Because of this, the tectonics of transparent glass and light metal can express the dynamicity towards anti-gravity (Arnheim, 2020).

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4.1.5. Nonlinear

The shape of nonlinearity is not based on the Platonic form but the focus on the recognition of the organic characteristics of the nature, which means new methodologies of form generation such as catastrophe theory, continuity, leap, soft transition, and confrontational process of butterfly effect (Wallner & Pottmann, 2011). Paralleled to equilibrium system of modernism, therefore, dynamicity can be achieved by the emphasis of the decentralization (Pottmann &

Wallner, 2016).

4.1.6 Fractal

The term ‘fractal’ was first used by mathematician Benoit Mandelbrot in 1975. Mandelbrot based it on the Latin frāctus, meaning ‘fractured’, and used it to extend the concept of theoretical fractional dimensions to geometric patterns in nature. Opposite to Euclidian form, fractal form shows the chaotic nonlinearity (Joye, 2011).

4.1.7 Folded Space

From Henri-Louis Bergson to Gilles Deleuze, the idea of generation or becoming means that complex layers of indefinite folding is the concept of the universe (Shen, 2017). This kind of folding concept denies the normative grid system and Euclidian space to generate fluid dynamic space (Samuelsson & Vestlund, 2015). The folded space shows the dynamic of Gehry’s philosophy.

4.2 The Background of Frank Gehry’s Architecture

Frank Gehry’s architecture can be exclusively categorized as the architecture of being

‘Sculpturesque’ (Waldrep, 2012). His philosophical background can be inferred into three levels. Firstly, as a young boy who was born on February 28, 1929, in Toronto, Canada, with distinctive character. During his childhood, he was creative and encouraged by his grandmother, Leah Caplan, with whom he lived and learned the trade of life (Ouroussoff, 2010). His grandmother asked him to build little cities out of scraps of wood from her husband's hardware store. She will entertain him for hours, building imaginary houses and futuristic cities on the living room floor. His tectonics was developed since his application of corrugated steel, chain-link fencing, unpainted plywood and other utilitarian or "everyday" materials which inspired him to spend the whole Saturday mornings at his grandfather's hardware store (Giegold, 2021). Secondly, his early Brooklyn childhood with his parent permitted him to check every possibilities of economic feasibilities for his architecture (Ockman, 2011). Finally, while working and travelling in Europe in his 20s, he encountered many sculptures and paintings in European museums, and it leads him to get more captivated in fine arts.

His tendency of being accidental or improvisational is also getting affected by social structure and normative of 50s and 60s, and most closely his collaboration with Pop Art artists during 70s and 80s (Corona, 2011). This is the reason why he regards his architecture resemblance of a fine art (Wang et al, 2020). Frank Gehry’s dynamicity of being sculpturesque was developed for a long time with his interaction between personal and social background.

4.3 The Analysis of Frank Gehry’s Architecture

Frank Gehry’s architecture was affected by social normative to be stereotypic from late 50s to early 70s and had been interacted with pop art culture from late 70s to late 80s. Most of his architecture start having the expression of being sculpturesque since late 80s (Boland Jr et al, 2008). The different era of influence reflected in his works evidently expresses his philosophy.

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4.3.1. Early stage (Late 50s -Early 70s) – The dynamicity in stereotypic architecture Over the early years, Frank Gehry was influenced by social normative and inclined towards stereotypic endeavored to absorb the architecture of Frank Lloyds Wright and Mies van der Rohe (Galenson, 2008). Contrary to his philosophy as an inventive and irreverent architect he wants to change the face of architecture. The analysis of dynamic composition in his architecture during this period is illustrated in Table 1. The architectural space and form were started from the stereotypic modernism space of Frank Lloyd Wright and shape hierarchical tension in Steeves Residence. The combination of horizontal and vertical masses created tension in Public Safety Building. The pitched roof was added to the rectangular mass in Kline Residence and this kind of pitched roof transformed into the radial shape or trapezoid shape to express dynamicity as in Davis Studio & Residence as well as Merriweather-Post Pavilion.

Four blocks were combined on quadrate plan with diagonal circulation in Santa Monica Place to express the dynamicity. Frank Gehry’s early projects were developed with banal dynamicity, which can be seen on typical modernism projects such as the use of inclined roof, radial shaped roof, the tension of horizontal/vertical masses combination, and diagonal circulation.

Table 1: The Analysis of Early stage (Late 50s -Early 70s)

Name Period Picture Dynamic Composition

Steeves Residence (Source: Julius Shulman photography archive, 1997)

1958-1959 - His early project which was heavily influenced by Frankl Lloyd Wright

- Emphasis on horizontal mass and create tension for dynamicity from hierarchy

Kline Residence

(Source: USModernist, 2017)

1964 - Rectangular mass with two different

pitched/inclined roofs to create tension/dynamicity

Meriweather Pavilion (Source: Wikimedia Commons, 2018)

1966-1967 - Dynamic trapezoid plan with slanted mass to create tension/dynamicity

Public Safety Building (Source: GRI Special Collections, 2017)

1967-1968 - Tension/dynamicity between horizontal mass and vertical mass

Davis Studio & Residence (Source: GRI Special Collections, 2017)

1968-1972 - Tension/dynamicity from radial mass for optical illusion

- Plan became dynamic because of this concept Santa Monica Place

(Source: Wikimedia Commons, 2013)

1972-1980 - 4 different corners with 4 different programs - Narrow angle circulation created

tension/dynamicity

4.3.2. Mid stage (late 70s – Late 80s) - The dynamicity with being sculpturesque

Frank Gehry viewed his interest on the works of Pop artists from early 70s and show the interaction between architecture and art during this period (Charitonidou, 2021). The first half of the era showed this interaction- expressed with the mixture of modernism architecture, but the boundaries of multiple masses became eliminated to express sculpturesque dynamicity while complex building program remains intact in latter half (Hartoonian, 2002). The dynamicity of asymmetry and being sculpturesque was also achieved through the combination of everyday material in unordinary way like collage method in fine art during his early period.

This method was seen in Norton Simon Gallery & Guest House, Spiller Residence, Benson Residence, and Gehry Residence with the way of using glass and wire mesh, corrugated metal sheet with exposed hardwood to express the tension of dynamicity among different materials

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(Table 2). The possibility of the interrelationship between architecture and fine art was fully experimented during this period and the differentiation between masses, the use of vertical elements and diagonal mass were tested to express the dynamicity.

Table 2: The Analysis of Mid stage (late 70s – Late 80s)

Norton Simon Gallery (Source: GRI Special Collections, 2017)

1974-1976 - Sculpturesque louvre structure on roof created tension/dynamicity

- Expression of movement with narrow angle Spiller Residence

(Source: GRI Special Collections, 2017)

1978-1979 - Tension/dynamicity from vertical mass penetration

- also tension from very different materials Benson Residence

(Source: GRI Special Collections, 2017)

1979-1984 - Tension/dynamicity from two different masses and surface materials

California Aerospace Museum

1982-1984 - Tension/dynamicity from diagonal mass, penetrated into vertical mass

- Tension from Pop art object (Airplane) Frances Howard Goldwyn

Library

1982-1986 - Tension/dynamicity from mass divisions and vertical rhythm

Gehry Residence (Source: Wikimedia Commons, 2011)

1991-1994 - Tension/dynamicity from existing building with new mass

- Tension from different combination of banal materials

4.3.3. Late stage (Early 90s - Now) – The dynamicity of organic flexibility

From early 90s Frank Gehry developed his sculpturesque further and attempted to integrate it with the context (Dalton et al, 2016). This tendency to integrate his sculptural masses with surrounding context became clear in American Center in Paris. VITRA International showed the dynamicity with the combination of rectangular cubic and sculptural mass, and the use of extreme comparison between existing building and new masses was used for Center for the Visual Arts, University of Toledo. EMR Communication and Technology Center reflected the urban context with sculptural masses, Bilbao Guggenheim Museum used flower-like sculptural masses with customized platinum plates and glass panels to express the linguistic context of the museum to express the dynamicity. Nationale-Nederlanden Building, which is also called Fred and Ginger, tried to visualize the dynamicity of historicity of the Second World War bombed building with dancing like sculptural masses. Guggenheim museum in Abu Dhabi shows the iconic scale of being sculpturesque in remote island (Table 3). During this period, he tried to achieve the dynamicity with linearity and combine linearity with nonlinearity with economic feasibility.

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Table 3: The Analysis of Late stage (Early 90s - Now)

American Center (Source: Xu@

Dreamstime.com, 2005)

1988-1994 - Dynamicity from the comparison of linearity and nonlinearity and fluid mass variation

- Still use of banal material VITRA International

(Source: Lucaderoma@

1988-1994 - Dynamicity from the comparison of main mass and nonlinear masses

- Public space in center, surrounding masses create directionality and movement

Center for the Visual Arts University of Toledo (Source: NWO, 2001)

1989 - Tension/Dynamicity from the comparison of

existing neo-classical museum and new one - dynamicity as a visual object with the classical background

Bilbao Guggenheim Museum

(Credit: Ardfern, Source:

Awad, 2014)

1991-1997 - Fractal Dynamicity from the combination of 3 big fluid masses and 7 small masses with various ceilings

- Starting point of extensive use of CATIA Nationale Nederlanden

Building

(Source: Dziewul@

1992-1996 - Dynamicity from the comparison of two

nonlinearities and two different material - dynamic use of material such as stainless bar, glass, wave pattern folded panel

Walt Disney Concert Hall (Source: Mjeda@

2000-2003 - Dynamicity from composition of undulating and angled forms, symbolizing musical movement and the motion of Los Angles.

- Big scale physical model for acoustic design Ray & Maria Stata Center

at MIT

(Source: Duguay@

2002-2004 - Dynamicity from the comparison of typical red brick building and shiny metal fluid mass - Tension from 2 different façade materials, shiny metal and red brick

Beekman Tower (Credit: Zimmerman, Source: Awad, 2014)

2006-2008 - Dynamicity from the undulating façade and reinterpretation of classical building - Tension from the urban context of lower Manhattan

Cleveland Clinic Lou Ruvo Center (Credit:

Zimmerman, Source:

Awad, 2014)

2007-2010 - Dynamicity from the nonlinear surfaces - Tension between exposed concrete and stainless- steel tectonics

Foundation Louis Vuitton (Source: Madrabothair@

2012-2014 - Tension/Dynamicity from the comparison

between linearity and contextual/cultural memory of 19c glass garden building

- comparison between iceberg and sail Chau Chak Wing Building

(Source: Hoywaii@

2012-2014 - Tension/Dynamicity from the comparison with urban context of university

- Tension between undulating brick and angled sheets of glass

Luma Arles Tower, France (Source: Pipi@

2014-2020 - Tension/Dynamicity from the comparison with urban context of the South France

- Tension between stainless steel tornado and sand stone

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Table 4: The Dynamicity of Frank Gehry Architectural language Sculpturesque

Background Combination of Architecture and Fine Art

Dynamicity

Early Dynamicity of tension between diagonal mass and stereotypic mass Mid Combination of the linearity of modernism and sculptural nonlinearity late Being sculpturesque with 3D free form with organic fractal, reiteration of

folded space, and dynamicity from design computation (Reverse Engineering)

5. Discussion

The dynamicity of Frank Gehry began from diagonal line on stereotypic mass then evolved into organic non-linear shape with the help of design computation (Celani, 2012). The tension for dynamicity was supplemented and evolved into the combination of linear and non-linear masses. From here the fractal and folded space were advancing into a more diverse dynamic forms as design computation evolves(Table 4). The direct tactility of a physical model is a much-preferred way of designing than digital manipulation of surfaces on a computer screen because he used to integrate art and architecture. At the outset, the digital technologies are not used as a medium of conception but as a medium of translation in a process that takes as its input the geometry of the physical model and produces its output via the digitally-encoded control information, later expended to drive various fabrication machines such as CNC router and various types of 3D printers. This is the technology of reverse engineering, which acquire point clouds from 3D scanner, and generate cross-sectional curve, loft surface comparing with the point cloud. Commencing from here, GT takes it over and starts working on BIM software called CATIA to elaborate the design further (Table 5).

Frank Gehry and GT team (Gehry Technologies, LLC) changed the way architect approached design. Traditional paper-based ways of documenting and delivering architectural projects could not capture his innovative designs. Gehry established GT, a team of technologists and practitioners and started using advanced 3D aerospace technologies (CATIA, higher end BIM software) to design, document and go directly from design to construction without intermediate paper documentation. Autonomously, his practice pursed innovations to project delivery in launching more collaborative project teams. Frank Gehry and GT were recognized for pushing the boundaries of construction and engineering technology and creating some of the world’s most recognizable architecture by leveraging CAAD software (Figure 5.0). GT had customized CATIA, which is a platform that combines Dassault Systems' solutions, for building industry and it generates a single digital model which can be accessed and modified by all teams participating in the same building projects (Mohamed, 2014; Ping & Lu, 2013).

Table 5: The type of Dynamicity in Frank Gehry’s Architecture Components Architectural Composition Expression of Dynamicity The Change

Of

Design Components

Early Horizontal and diagonal lines:

Tension & Movement

Dynamicity from tension and movement expression

Mid Diagonal line:

Tension from the combination of linear and nonlinear mass

Dynamicity from nonlinearity, fractal, folding, and dynamic color combination Late Organic 3D curvature;

Fractal, Folding, and the combination of CAAD

Design Computation Reverse Engineering from physical modeling

Dynamicity from self-generated algorithm Form Generation Deconstruct the architecture to be

sculpturesque

Dynamicity from Asymmetry,

Deconstructionism to express uncertainty Architectural Material Early Stucco

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&

Color

Mid Metal chain

Corrugated metal plate

Distinctive and personalized color and cutting-edge material

Late Customized/curved Platinum plate

6. Conclusion

It is significant to observe that Frank Gehry’s philosophy and design concept was extended to reality in relation to the progressive pop artist in the early and mid-period affirmed by the availability of design computation in later stage. The expression of dynamicity was also evolved from tension and movement expression to the combination of non-linearity, fractal, folding, and dynamic color combination with the advancement of digital technology. He adhered to his way of design but adapted himself to the cutting-edge design computation at the same time. He had read the zeitgeist well and pushed the limit of his understanding of tectonics by using proper material for his projects such as platinum plate with high flexibility for economic feasibility to achieve the expression of next level dynamicity. Frank Gehry’s architecture, therefore, can be understood as the pioneer of new dynamicity in architecture without interpreting his works with deconstructionism philosophy. The curvature and nonlinear line along each component of his façade inter- dangling without support proven his understanding of the beauty and properties of the materials

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