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Frank Gehry, whose designs defied gravity and convention, dies at 96

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Frank Gehry, whose designs defied gravity and convention, dies at 96

“I love the relationship with the clients,” said architect Frank Gehry. In Bilbao, Spain, where he designed the groundbreaking building for the Guggenheim museum, “people come out and hug me,” he said.

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“I love the relationship with the clients,” said architect Frank Gehry. In Bilbao, Spain, where he designed the groundbreaking building for the Guggenheim museum, “people come out and hug me,” he said.

Dominieuq Faget/AFP/Getty Images

Swooping, swirling, gleaming, sculpted — Frank Gehry made buildings we’d never seen before. The architect behind the Guggenheim Museum in Spain and the Walt Disney Concert Hall in Los Angeles transformed contemporary architecture. He died Friday at his home in Santa Monica, Calif., after a brief respiratory illness, according to his chief of staff. He was 96.

Gehry won all the top awards — including the Pritzker Prize and the Presidential Medal of Freedom. In 1999, when the American Institute of Architects gave him their Gold Medal, Gehry looked out at an audience that included contemporary gods of building — Philip Johnson, Robert Venturi, Michael Graves — and said, “it’s like finding out my big brothers love me after all.”

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“He was probably the only truly great artist I’ve ever encountered who desperately cared what people thought of him and that people loved his work,” says Gehry’s biographer Paul Goldberger. The architect got his share of criticism — “accusations that he made crazy shapes and paid no attention to budget.”

But the praise was louder, because his striking buildings made people happy.

With 12 huge glass

With 12 huge glass “sails,” the Louis Vuitton Foundation takes the form of a sailboat among the trees of the Bois de Boulogne in Paris.

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With 12 huge glass

With 12 huge glass “sails,” the Louis Vuitton Foundation takes the form of a sailboat among the trees of the Bois de Boulogne in Paris.

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A woman walks inside the Louis Vuitton Foundation in the Bois de Boulogne in Paris.

A woman walks inside the Louis Vuitton Foundation in the Bois de Boulogne in Paris.

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A woman walks inside the Louis Vuitton Foundation in the Bois de Boulogne in Paris.

A woman walks inside the Louis Vuitton Foundation in the Bois de Boulogne in Paris.

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“I’ve always been for optimism and architecture not being sad,” Gehry told NPR in 2004. “You know, a building for music and performance should be joyful. It should be a great experience and it should be fun to go to.”

There was exuberance in his work. The swoops and swirls — made possible with aerospace technology — lifted the spirits of viewers used to post-war modernism — strict, boxy glass and steel buildings that looked imposing and unwelcoming.

Gehry says he found that style, cold, inhuman and lifeless. “I thought it was possible to find a way to express feeling and humanistic qualities in a building,” Gehry said. “But I wasn’t clear about it until I started experimenting, quite accidentally, with fish forms.”

He loved the shape of fish, and the way they moved. He drew them all his life, an inspiration that began in his grandmother’s bathtub in Toronto.

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Gehry stands next his fish lamps at his exhibition at the Gagosian Mayfair gallery, in central London, in November 2013. As a child, Gehry remembers watching carp — destined to be dinner — swimming in his grandmother's bathtub.

Gehry stands next his fish lamps at his exhibition at the Gagosian Mayfair gallery, in central London, in November 2013. As a child, Gehry remembers watching carp — destined to be dinner — swimming in his grandmother’s bathtub.

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Gehry stands next his fish lamps at his exhibition at the Gagosian Mayfair gallery, in central London, in November 2013. As a child, Gehry remembers watching carp — destined to be dinner — swimming in his grandmother's bathtub.

Gehry stands next his fish lamps at his exhibition at the Gagosian Mayfair gallery, in central London, in November 2013. As a child, Gehry remembers watching carp — destined to be dinner — swimming in his grandmother’s bathtub.

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“Every Thursday when I stayed at her house, I’d go with her to the market,” he recalled. “And there would be a big bag of some kind filled with water that we would carry home with a big carp in it. We’d put it in the bathtub. I’d sit and watch it and the next day it was gone.”

Those carp were turned into gefilte fish — a classic Jewish dish — but stayed in Gehry’s memory long past suppertime. He translated their curves and motions into architecture. In Prague, Czechs call his elegant design for an office building “Fred and Ginger” — two cylindrical towers, one solid, the other glass, pinched in at the waist, like dancers. His Disney Hall and his Guggenheim museum swell like symphonies.

Gehry's whimsical towers in Prague have earned the nickname

Gehry’s whimsical towers in Prague have earned the nickname “Fred and Ginger.”

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Gehry's whimsical towers in Prague have earned the nickname

Gehry’s whimsical towers in Prague have earned the nickname “Fred and Ginger.”

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Tony Hisgett via Flickr Creative Commons

“He really wanted you to feel a sense of movement,” Goldberger says. “A building is a static thing, but if it feels like it’s moving, for him that was more exciting.”

The Guggenheim — a billowing swirl of titanium in gold and sunset colors — excited viewers. After it opened in 1997, Gehry said everyone who came to him wanted a Guggeinheim. But Gehry wasn’t interested.

“Like all great artists, he wanted to keep pushing himself and move forward,” Goldberger says. “He did not want to copy himself. He did not want to do that building again.”

The Guggeinheim Museum in Bilbao, Spain and The Disney Hall in Los Angeles (it opened in 2003, a swoosh of silver stainless steel, 1/16th of an inch thick) are Gehry’s signature buildings. But they’re a far cry from his early work. His own 1978 residence in Santa Monica sports common materials. If clients couldn’t afford fancy — marble, say — he’d use cheap.

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Gehry constructed the Disney Concert Hall in Los Angeles out of stainless steel.

Gehry constructed the Disney Concert Hall in Los Angeles out of stainless steel. “We’re living in a culture, in a time where movement is pervasive,” he said. “Everything is moving. And so if we hook onto that and use it as part of our language, our architectural language, there’s some resonance for it.”

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Gehry constructed the Disney Concert Hall in Los Angeles out of stainless steel.

Gehry constructed the Disney Concert Hall in Los Angeles out of stainless steel. “We’re living in a culture, in a time where movement is pervasive,” he said. “Everything is moving. And so if we hook onto that and use it as part of our language, our architectural language, there’s some resonance for it.”

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Inside the Disney Concert Hall.

Inside the Disney Concert Hall.

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Inside the Disney Concert Hall.

Inside the Disney Concert Hall.

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“He started using plywood and chain link fence and corrugated metal,” Goldberger says.

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Those buildings got attention. But the later ones made him a star — and a term was coined: Starchitect. Goldberger says Gehry hated it.

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“He didn’t really hate fame,” Goldberger explains. “But he was too smart to sacrifice everything for it.”

Gehry kept faithful to his vision. He turned down jobs that didn’t feel right and imagined others that got built, were widely admired, but sometimes didn’t live up to his imagination.

“You know, what’s in my mind’s eye is always 10 times better than what I ever achieve because the dream image can leak …” Gehry said with a laugh. “But in terms of its public acceptance it’s beyond anything I ever expected. I’ve never been accepted before like this.”

Gehry received a National Medal of Arts from Bill Clinton and a Presidential Medal of Freedom from Barack Obama. The New Yorker called Bilbao “a masterpiece of the 20th century.” Architect Philip Johnson said it was “the building of the century.” And the public (with some exceptions, of course) adored the work.

“He made great architecture accessible to people,” Goldberger says, and that re-shaped their sense of what buildings could be.

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He describes Gehry’s work as “one of those extraordinary moments where the most advanced art intersects with popular taste. That only happens very rarely in the culture, in any field.”

It’s been said that architecture is the message a civilization sends to the future. With walls that are shaped and sculpted, and buildings that look joyous and free, Frank Gehry’s is a message of humanism and hope.

The author of this obituary, Susan Stamberg, died in October 2025. The story was updated and reviewed before publication.

Shannon Rhoades edited the audio of this story. Beth Novey adapted it for the Web.

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Can you say no to a friend’s wedding? : It’s Been a Minute

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Can you say no to a friend’s wedding? : It’s Been a Minute

Can you say no to a friend’s wedding?

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Are we spending too much on other people’s weddings?

Going to a friend’s weddings can be so fun and meaningful… but it can also really hurt your wallet. A survey by LendingTree found that 31% of people who had been to a wedding in the past five years had accrued debt to attend. So what’s driving up the cost of weddings for guests? And what makes it so hard to say no to these expenses?

Brittany breaks it down with Allyson Rees, senior analyst at trend forecasting firm WGSN, and Annie Joy Williams, assistant editor at The Atlantic.

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This episode was produced by Liam McBain, with additional support from Corey Antonio Rose. It was edited by Neena Pathak. Our Supervising Producer is Cher Vincent. Our Executive Producer is Barton Girdwood. Our VP of Programming is Yolanda Sangweni.

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Is it safe to eat from your garden after the Boyle Heights warehouse fire?

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Is it safe to eat from your garden after the Boyle Heights warehouse fire?

After the eight-day-long fire in a 500,000-square-foot Boyle Heights warehouse, eastern Los Angeles residents are contending with putrid smells, soot and potentially hazardous airborne chemicals after heavy plumes of smoke spread throughout the city. But those who grow food in nearby neighborhoods may also be wondering: How will the fires affect the plants and produce in my garden?

The Boyle Heights warehouse, owned by Lineage — a global temperature-controlled storage facility operator — housed 85 million pounds of frozen food and other products. In the days since the fire, local emergency visits for smoke inhalation and throat pain spiked while agencies still scramble to measure the amount of PM 2.5 — harmful fine particles — and heavy metals, like lead and arsenic, in the air.

According to researchers, any toxic airborne chemicals would likely stem from the charred foam insulation, metal exterior, burned solar panels and any lithium batteries that might have been present inside the warehouse.

After a fire, heavy metal particles can spread through ash and smoke over gardens and inhibit growth, said Olukayode Jegede, an agricultural toxicologist and assistant professor at UC Davis. Since the warehouse fire is so recent and cleanup has just begun, Jegede said the precise impact on gardens can’t be measured until comprehensive soil tests are conducted in the area.

While the L.A. city government hasn’t announced plans for soil testing, the Contaminant Level Evaluation and Analysis for Neighborhoods project at USC is offering free contaminant testing for Boyle Heights and East L.A. residents. Residents can collect soil samples and deliver them to Boyle Heights City Hall and other locations for an evaluation of lead, arsenic, chromium and mercury levels.

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The good news is produce, plants and roots can still be preserved. According to Jegede, many of the soil tests conducted last year in the Altadena area after the Eaton fire showed that gardens and poultry were not as contaminated as one might expect.

“Quite a number of the soils we tested [in Altadena] were not really contaminated,” Jegede said. “We weren’t seeing many soils with concerning elevated levels of metal, so gardeners should not be too alarmed when these things happen.”

Nevertheless, there are several measures that gardeners can take to keep themselves, their children, plants and produce safe from potentially harmful contaminants stemming from the fire. Researchers, gardening experts and horticulturists offered some guidance on the handling, recultivation and cleanup that can keep you and your garden in good health.

How do I remove ash and contaminants from my garden?

Altadena horticulturist Leigh Adams said Boyle Heights plants and produce already live in a difficult environment, surrounded by industrial warehouses that spread contaminants daily.

“That area has been used industrially for 100 years, and the soil is impacted by many, many, many things,” Adams said. “Low-income neighborhoods and gardens usually don’t have a lot of resistance against dominant manufacturing.”

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This means that the contamination of gardens in eastern L.A. won’t be as catastrophic as compared with those in Altadena, a more suburban environment, Adams said. But fallen ash still poses major health risks if ingested or inhaled.

An advisory from University of California Agricultural and Natural Resources last year recommended suiting up in an N95/KN95 mask, long sleeves, pants, close-toed shoes and gloves before attempting to deal with ash in the garden to limit exposure to potentially toxic contaminants. The advisory added that individuals should make sure all of this gear is cleaned thoroughly before bringing it back inside.

Once in the proper gear, Adams recommends removing the top two inches of topsoil from gardens, where the highest concentration of contaminants will settle after a fire. Using a plastic bag to collect the soil and disposing of it in the garbage — not green yard waste bins — will help to reduce the spread of airborne chemicals.

Gardeners with raised beds are advised to remove approximately six inches of soil, because excess ash can raise the pH level and prevent nutrients from soaking into the soil bed.

After this, watering the garden gently but plentifully will help to promote soil health and get rid of most of the ash present on plant leaves and stems. Adams said replacing the top two inches of soil with store-bought mulch or straw will help to contain any remaining ash and prevent it from spreading any further.

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Experts say to avoid using leaf blowers if ash is present in the garden because they can send particles airborne. Doing so will increase the likelihood of heavy metal particles, which can carry lung irritants and carcinogens, being spread and inhaled.

A Boyle Heights resident keep a watchful eye on the fire at the 5,000-square-foot commercial building, which stores 85 million pounds of frozen food.

(Genaro Molina / Los Angeles Times)

Is it safe for me to eat produce from my garden?

Several studies, including one from the UC Cooperative Extension of Sonoma County, have shown that consuming produce in a fire-affected area poses minimal health risks.

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Jegede said most root vegetables like potatoes and carrots, along with any fruit that has an outer layer, can be washed to remove potential contaminants, even if they were covered in ash. Peeling the outer layer of your produce can also help to reduce potential risks, he said.

Lettuce and other leafy foods with multiple layers pose a higher risk of contamination, but with a vigorous wash and peeling the outer layers, even the greens can be saved. The County of Los Angeles Department of Public Health recommends soaking leafy produce and fuzzy fruits like peaches in a 10% white vinegar and 90% water mixture.

Jegede said if the leaves or fruit are too delicate to wash or ash is still visible, it would be best to dispose of the produce.

How can I tell if my soil is contaminated?

After ridding your garden of visible ash, you might wonder how to tell if your plants will still thrive in the soil.

At-home soil tests that measure for alkaline, fertility and pH levels are widely available and can be purchased for $15 to $100 (for more detailed results) online. But Jegede said these tests can’t tell the full story of soil health.

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Comprehensive soil testing is “something you can’t do properly at home,” Jegede said. “In labs, we are testing for metals like lithium and zinc, stuff that an at-home test will not show … If it comes to the point that you’re worried about your soil, I would just send it out to a lab.”

Wallace Laboratories in El Segundo, Babcock Laboratories in Riverside, Waypoint Analytical in Anaheim and other labs offer more detailed soil tests that measure heavy metal particles in addition to other fertility factors. Prices at Wallace Laboratories can range from $115 to $295 for a complete compost test.

The soil below two inches should be unharmed, Adams said, so long as new compost is set and plants are watered plentifully, which will promote natural biological cycles.

“What you’re doing is capping the soil, so that moisture stays in there, and instead of being dirt, it’s a living system called soil,” Adams said. “The more carbon we can get into our soil, the better.”

What can I do to help my soil recover?

For the last 12 years, Adams has been working with Metabolic Studio, a Los Angeles-based art and research hub focused on environmentalism, on methods for bioremediation, the practice of using additional fungi, plants and compost to decontaminate ash and break down contaminants.

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Adams said straw, mushrooms, corn, rye and sunflowers are great bioremediators that can help to repair damage to soils. She said certain samples she’s worked on with Metabolic Studio have gone from testing at high heavy metal levels to nearly contaminant-free.

But for a more immediate fix, wash your produce, water your plants and have a little patience during ash cleanups. Your garden should look better in no time, Adams and Jegede said.

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Why Gen Z is movie-maxxing : Pop Culture Happy Hour

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Why Gen Z is movie-maxxing : Pop Culture Happy Hour

Inde Navarrette and Michael Johnston in Obsession.

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Two big horror films, Obsession and Backrooms, just smashed all box office expectations. So much of their success has been driven by Gen Z, which is now the biggest moviegoing demographic. But what makes a movie a Gen Z movie? Today we’re bringing you an episode of NPR’s It’s Been a Minute. Host Brittany Luse talks about this trend with Sam Adams and Reanna Cruz. 

If you want to hear more about these movies, check out these episodes: 

In ‘Obsession,’ love hurts. It really, really, really hurts.

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‘Backrooms’ brings YouTube horror to the big screen

Zendaya brings ‘The Drama,’ we bring the spoilers

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