Frank Gehry – Interior designer


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Frank Owen Gehry, CC (born Frank Owen Goldberg; February 28, 1929) is a Canadian-American Pritzker Prize-winning architect based in Los Angeles.

His buildings, including his private residence, have become tourist attractions. His works are cited as being among the most important works of contemporary architecture in the 2010 World Architecture Survey, which led Vanity Fair to label him as “the most important architect of our age”.

Gehry’s best-known works include the titanium-covered Guggenheim Museum in Bilbao, Spain; MIT Ray and Maria Stata Center in Cambridge, Massachusetts; Walt Disney Concert Hall in downtown Los Angeles; Experience Music Project in Seattle; Weisman Art Museum in Minneapolis; Dancing House in Prague; the Vitra Design Museum and the museum MARTa Herford in Germany; the Art Gallery of Ontario in Toronto; the Cinémathèque française in Paris; and 8 Spruce Street in New York City. But it was his private residence in Santa Monica, California, which jump-started his career, lifting it from the status of “paper architecture”—a phenomenon that many famous architects have experienced in their formative decades through experimentation almost exclusively on paper before receiving their first major commission in later years. Gehry is also the designer of the future
“my mother thought I was a dreamer, I wasn’t gonna amount to anything. It was my father who thought I was just reticent to do things. He would push me.”

He was given the Hebrew name “Ephraim” by his grandfather but only used it at his bar mitzvah.

In 1947 Gehry moved to California, got a job driving a delivery truck, and studied at Los Angeles City College, eventually to graduate from the University of Southern California’s School of Architecture. According to Gehry: “I was a truck driver in L.A., going to City College, and I tried radio announcing, which I wasn’t very good at. I tried chemical engineering, which I wasn’t very good at and didn’t like, and then I remembered. You know, somehow I just started racking my brain about, “What do I like?” Where was I? What made me excited? And I remembered art, that I loved going to museums and I loved looking at paintings, loved listening to music. Those things came from my mother, who took me to concerts and museums. I remembered Grandma and the blocks” qouted Frank gehry.

Post 6: Interior Designer- Antoni Gaudi


Antoni Gaudi was born 25 June 1852 and died of an accidental death on June 10 1926.  Gaudi was a visionary of his time in design and architecture where he had graduated as an architect in 1878  in Spain. That year Gaudi had showcased some of his produced works at the Paris World’s Fair which impressed a patron enough to lead him to work on the Guell Estate and Palace. Then in 1883 he was charged with the construction of a Barcelona Cathedral called The Basilica Sagrada Familia. The pre-existing plans of the church were tossed out and he replaced them with his own unique style.


By 1902 his designs had truly begun to defy the conventional stylistic classification, and he had created a structure known as equilibrated, they were able to stand without the need of internal bracing and or external buttressing.


His works reflected his very individual and distinctive style. They boasted a nature-based organic life form. Composed with juxtapositions of geometric masses and animating the surfaces with patterned bricks or stone, bright ceramic tiles and floral or reptilian metalwork. On the seven properties Gaudi built he had total free reign in the design of the gardens, sculptures and all decorative arts and architecture.

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His seven buildings are named: Parque Güell; Palacio Güell; Casa Mila; Casa Vicens; Gaudí’s work on the Nativity façade and Crypt of La Sagrada Familia; Casa Batlló; Crypt in Colonia Güell. They remain as standing  as monuments of his eclectic creativity dotted about Barcelona.

Over the years Gaudi became increasingly pious, and after 1910 he had abandoned nearly all other work to focus purely on the Sagrada Familia, where he could live and breath onsite and sleep in its workshop.Giving the nickname “Gods Architect”. The cathedral was still unfinished at the time of his death, and now has a target date for completion of this project of 2026 to mark the 100 year anniversary of his passing.


Post 6: Interior Designers- Marion Hall Best

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Marion Hall Best was an Interior Design legend in her own luridly coloured lifetime. She was one of the first professionals to call herself an Interior Designer rather than a decorator.

Marion Best’s career spanned a period in which the very concept of an ‘Interior Designer’ was invented, a period of transition from the department store decorators and art furnishers of the 1920s to the independent professional designers of today. She was a founding member of the Society of Interior Designers of Australia.

She was educated at Frensham School, Mittagong. Her early career developed out of contacts made in Sydney’s arts and crafts circles in the 1920s, including those gained while attending art and design classes with Thea Proctor. She took on a series of private decorating commissions in the 1930s and continued to study, enrolling in first-year architecture at the University of Sydney in 1938 and, in 1939-40, completing a New York-based correspondence course in interior decoration

An adventurous and sophisticated use of colour was always the hallmark of Best’s work, which was influenced by Henri Matisse, the Fauves and, specifically, the colour wheels of Roy de Maistre. She believed that colour in interiors was uplifting and adapted the techniques of Justin O’Brien to develop a method of glazing for walls and ceilings.  She loved to use deep pinks & red & aquamarine turquoise. She hated beige! 

Traveling widely from the late 1940s in Europe, Asia and North and South America, she negotiated at international trade fairs for import agreements with the makers of furniture, fabrics, lighting, wallpapers and accessories including Marimekko, Knoll, Herman Miller, Noguchi, McGuire and Jim Thompson. She also used many Australian designers and artists.

In 1938 Best opened Marion Best fabrics, a workroom with display area in Queen Street, Woollahra, to which she later added a retail business. Up until its closure in 1974 the shop stocked local designs. In 1949 Marion Best opened a small shop in Sydney’s Rowe Street, an enclave of shops and galleries specialising in art, craft and design. These retail outlets were a source of inspiration and was once a hive of artistic activity courtesy of the art students she employed to serve customers.

Interior Designer – Karim Rashid

Karim Rashid is a prolific industrial designer & interior architect, born in 1960 in Cairo, Egypt. He was raised in Canada by his English parents where he received a Bachelor of Industrial Design from Carleton University, Ottawa.

Residing in New York, Karim manages his private design studio, with offices also located in Manhattan & Amsterdam. He has earned a reputation as a style setter & rule breaker (by avoiding mainstream design concepts), an inspiring & provocative global lecturer, renowned for wearing pink & white accessorised with Alain Mikli & Sceye Sweden designed glasses.

Karim has worked in over 40 countries with his portfolio of expertise compiled from over 3000 designs in production & over 300 awards. He frequently lectures at universities & conferences in order to globally express the importance of design in everyday life. His accomplishments range from furnishings, products (both practical & novelty), clothing (co-founded & designed Babel clothing), even music (composed “Plob” for a German compilation titled ‘The Listening Room’).

“Every business should be completely concerned with beauty. It is, after all, a collective human need.”  –  Karim Rashid

His award winning designs include:
–   Luxury goods for Christofle, Veuve Clicquot, & Alessi.
–   Democratic products for Umbra, Bobble, & 3M.
–   Furniture for Bonaldo & Vondom.
–   Lighting for Artemide & Fabbian.
–   High tech products for Asus & Samsung.
–   Surface design for Marburg & Abet Laminati.
–   Brand identity for Citibank & Sony Ericsson
–   Packaging for Method, Paris Baguette, Kenzo & Hugo Boss.

Interior Designs include:
–   Morimoto restaurant, Philadelphia.
–   Semiramis hotel, Athens.
–   nhow hotel, Berlin.
–   Universita Metro Station, Naples.
–   Exhibition design for Deutsche Bank & Audi.

Karim experiments with a combination of art, fashion & music in his spare time. He is determined to creatively touch every aspect of the physical & virtual landscapes which surround us. His philosophies are based around quality over quantity, space over clutter, clarity over complexity & marriage of both form & function within every design.

“I want industrial design to be a public subject. I want people to love objects the way they love clothing.”  –  Karim Rashid

The book ‘Design Your Self: Rethinking the Way You Live, Love, Work, and Play’ was written by Karim Rashid explaining how to optimise all areas of life (aesthetically & spiritually), while offering comprehensive guidance to readers that is simple to understand. ‘Design Your Self’ comprises of topics ranging from wardrobes, office space, love life & diet, along with offering readers answers to perplexing questions such as; how to pack a suitcase correctly, how to use colours to accentuate a room & how to harness free time in a busy schedule.

“People project meaning onto objects. If an object allows you to interact with it, then it becomes part of your being, and over time you see things in it that first you might not have seen.”  –  Karim Rashid

“Today poetic design is based on a plethora of complex criteria: human experience, social behaviors, global, economic and political issues, physical and mental interaction, form, vision, and a rigorous understanding and desire for contemporary culture. Manufacturing is based on another collective group of criteria: capital investment, market share, production ease, dissemination, growth, distribution, maintenance, service, performance, quality, ecological issues and sustainability. The combination of these factors shape our objects, inform our forms, our physical space, visual culture and our contemporary human experience. These quantitative constructs shape business, identity, brand and value. This is the business of beauty. Every business should be completely concerned with beauty – it is after all a collective human need.

I believe that we could be living in an entirely different world – one that is full of real contemporary inspiring objects, spaces, places, worlds, spirits and experiences. Design has been the cultural shaper of our world from the start. We have designed systems, cities, and commodities. We have addressed the world’s problems. Now design is not about solving problems, but about a rigorous beautification of our built environments. Design is about the betterment of our lives poetically, aesthetically, experientially, sensorially, and emotionally. My real desire is to see people live in the modus of our time, to participate in the contemporary world, and to release themselves from nostalgia, antiquated traditions, old rituals, kitsch and the meaningless. We should be conscious and attune with this world in this moment. If human nature is to live in the past – to change the world is to change human nature.”

Information Sources:
Manifesto Source:

Post 6: Frank Gehry

Much of Gehry’s work falls within the style of Deconstructivism, which is often referred to as post-structuralist in nature for its ability to go beyond current modalities of structural definition. In architecture, its application tends to depart from modernism in its inherent criticism of culturally inherited givens such as societal goals and functional necessity. Because of this, unlike early modernist structures, Deconstructivist structures are not required to reflect specific social or universal ideas, such as speed or universality of form, and they do not reflect a belief that form follows function.

An interior designing project that defines Gehry’s design philosophy was the Conde Nastcafeteria of New York City, completed in 2000. Every seat in this 260 seater cafeteria is individually sculpted, and an island in the center of the space is surrounded by individually designed glass curtains. Such a design vocabulary is possible only as a result of a high degree of technical research by the Gehry design team, which has become a hallmark of Gehry and Associates.