OLD NEWS

FRANK GEHRY, WHO TRANSFORMED L.A.’S URBAN LANDSCAPE, DIES AT 96 by Christopher Hawthorne
Carolina A. Miranda contributed to this report.
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Architect Frank O. Gehry, who brought an alluringly new kind of shape-making to his profession even as he fundamentally changed the reputation and civic landscape of his adopted hometown of Los Angeles in such projects as the shimmering Walt Disney Concert Hall on Grand Avenue, has died. He was 96.
Gehry, who arrived in L.A. as an aimless teenager just after World War II and went on to become the most famous and one of the most influential architects in the world over a prolific six-decade career, died Friday at his home in Santa Monica following a brief respiratory illness,
Gehry had been widely respected among L.A. architects since the 1970s, but his global fame grew from high-level productivity late in his career. This phase, in which his firm, Gehry Partners, pioneered new ways of using technology to help realize geometrically complex buildings, began with the completion of an ambitious satellite branch of the Guggenheim Museum in Bilbao, Spain. It opened to the public in 1997, the year Gehry turned 68.
The museum was widely praised for its breathtaking and sinuous profile and dramatic relationship to the Nervión River at its feet. Just as important, it helped reenergize and bring new media attention to architecture. Still looking for direction after the breakdown of the Modern movement and the repeated false starts of a historically minded Postmodernism, the profession badly needed a boost.
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The new Guggenheim suggested a fresh, dynamic direction: architecture whose appeal resided in the ravishing large-scale curves made possible with digital design software and almost perfectly suited to architectural photography and display in the pages of newspapers and magazines. Suddenly cities and museums were clamoring to hire Gehry — or some other member of the growing class of top-tier star architects, or “starchitects” — to try to replicate the windfall of attention and tourism dollars the new Guggenheim had produced. That windfall even earned its own nickname: the Bilbao Effect <https://tinyurl.com/3akcw2y2>.
On the heels of the Guggenheim came a series of other triumphs for Gehry. They included the opening in 2003 of the long-delayed Disney Hall <https://tinyurl.com/s9m7azu2> , designed before the Bilbao museum but completed after it, and the Richard B. Fisher Center for the Performing Arts <https://tinyurl.com/4y8hzsze> at Bard College in New York.
Some critics complained that Gehry’s firm, which had turned into a global powerhouse, was spreading his talents too thin, leading to disappointments such as the Experience Music Project <https://tinyurl.com/d86hhwjr> in Seattle, finished in 2000. There were also whispers that Gehry, in an effort to recapture the Bilbao magic, was chasing ill-conceived museum commissions around the world.
In projects like the Guggenheim branch in Abu Dhabi, commissioned in 2006, it was suggested that the huge budgets had raced past a clear idea of what the building would mean culturally or even what kind of artwork it would hold. It came as little surprise when the building was plagued by delays. Originally scheduled to open in 2012, the Guggenheim pushed back the opening date on multiple occasions, with 2026 currently serving as the target opening — 20 years after the project was announced.
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But Gehry always seemed to have a project waiting in the wings to silence his detractors. Disney Hall was his answer to the charge, repeated frequently over the years, that he was more skilled at producing architectural sculpture than answering to practical or functional requirements. The concert hall is a brilliant, eye-catching piece that helped fill a literal and symbolic civic hole at the top of Bunker Hill. It also holds an auditorium that functions superbly in acoustic terms and gave the Los Angeles Philharmonic a new visibility. The hall is at once a luminous public landmark and a workhorse.
Similarly powerful was another late-in-life triumph, the Fondation Louis Vuitton <https://tinyurl.com/54e5kkp6> in Paris, a museum built to hold the collection of the French business magnate and art collector Bernard Arnault. When it opened in the fall of 2014 in a quiet corner of the Bois de Boulogne, the large park on the west side of Paris, it suggested a newly refined, even urbane direction in Gehry’s late work.
The dramatic forms are still there, this time in glass, wrapping the body of the building like huge transparent sails, but they are part of an architectural composition as notable for its balance and elegance as for its boisterous energy. This time it was the notion that Gehry’s work was visually chaotic, not merely unresolved but undisciplined, that was exposed as a severely limited reading of his work.
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What the best of Gehry’s late projects have in common is not only virtuosity in their form-making, but also a remarkable kind of humanism. This was the best-kept secret of Gehry’s career: how dedicated he was to, and how skilled at, the basic task of architecture, which is to create spaces that respect and accommodate human scale.
In the architect’s finest work, proportion as well as attention to light and shadow are expertly handled, taking advantage of skills honed over many decades. His most memorable rooms are as carefully and intelligently put together — and in their charismatic and forward-looking energy, as quintessentially American — as the most fluid descriptive prose by F. Scott Fitzgerald, the most freewheeling artwork by Robert Rauschenberg or the most stirring fanfare by Aaron Copland.
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Gehry was born Frank Owen Goldberg on Feb. 28, 1929, in Toronto. (He would change his last name to Gehry in 1954.) Gehry’s father, Irving, was a salesman and truck driver who had trained as a boxer and moved to Canada from New York, his hometown, as a young man. His mother, Thelma, was born in Poland and immigrated to Toronto with her family as a child.
He was not close to his father, but his mother exposed him to music and art. Her parents, Leah and Samuel Caplan, spent extended time with Gehry in Toronto as a child.
“Gehry says his urge to reinvent order was born in the back room of his grandfather’s hardware store in downtown Toronto,” Leon Whiteson wrote in 1989. “There he tinkered with dismembered clocks and toasters, and the pathos of dismantled gears, springs and wires infected him with a tenderness for mechanisms that spill their guts for all the world to see.”
After finishing high school in 1947 at age 17, Gehry decided to move with his parents to L.A. Gehry’s father, who had suffered a heart attack that year, had been advised by a doctor to move to a gentler climate and ease up on physical labor.
“Los Angeles when I got here was brash, raucous, frontier,” Gehry told journalist Barbara Isenberg, whose book “Conversations With Frank Gehry” was published in 2009. “Carney business. The movies. The development was vast and rampant. Whole neighborhoods seemed to spring up instantly in desert locations.”
For Gehry, this seemingly chaotic cityscape “represented a kind of openness, and freedom because it was risk-taking somehow. There was an edge to it. Some of it was greedy and awful, and some of it was positive and moving.”
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Gehry enrolled in night school at L.A. City College, where he took art and architecture classes, then went to USC, where he studied ceramics with artist Glen Lukens, as well as architecture.
In 1951 Gehry became a naturalized U.S. citizen. The following year he and Anita Snyder, whom he met when he delivered furniture to her parents’ house while working as a driver for the Vineland Co., were married. He was 22 and she 18. They divorced in 1966.
It was Anita, Gehry said, who convinced him in 1954 to change his last name from Goldberg to the less Jewish-sounding name of Gehry, which is of Swiss German origin. Gehry said his wife and her mother helped him select from a group of names beginning in G. Gehry liked his initials, F.O.G., and didn’t want to give up the acronym.
“I learned I was passed over for an architectural fraternity because I was a Jew,” Gehry told Isenberg. “I didn’t care, but it was evidence of anti-Semitism to me. Then a guy I knew came to me and said, ‘Change your name and we can start a partnership.’ That kind of stuff is what pushed my ex-wife to lobby for a name change, and why I finally gave in to it.”
Gehry earned a bachelor’s degree in architecture from USC in 1954. After a stint in the Army in Atlanta from 1954 to 1956, he returned to L.A. to take a job in the office of Victor Gruen, a Viennese-born architect known for helping invent the American shopping mall. He left to study urban planning at Harvard Graduate School of Design, came back to L.A. to work again for Gruen and the prolific firm of Pereira & Luckman, helmed by William Pereira and Charles Luckman, and then spent a year working in Paris.
He returned to L.A. for good in 1962 and, at 33, opened his own firm with a partner, Greg Walsh. At first his projects were fairly well-behaved and faithful, at least outwardly, to the Modernist principles he had learned at USC: flat roofs, restrained geometry. But he began to absorb important cues from the postwar commercial landscape of L.A.
The first design to gain wide attention, a 1965 loft and studio <https://tinyurl.com/4z8w2sc5> for graphic designer Lou Danziger on a busy stretch of Melrose Avenue, was typical of this combination: A spare, even self-effacing stucco box, plain outside and filled with light and surprising spatial complexity inside, it looked Modern but also suggested sympathy for the postwar visual chaos of L.A. evident in the work of artists such as Ed Ruscha and David Hockney.
Indeed, relationships with visual artists, more than with architects, sustained Gehry during the early years on his own and began to lead the way to bigger commissions. A house in Malibu <https://tinyurl.com/yc2v9jp7> for painter Ron Davis, completed in 1972 and featuring a trapezoidal frame, was among his first efforts to break from the Modernist box and move toward a more expressionistic architectural language.
As the office grew, Gehry took on more houses and larger commissions, including a series of store interiors for the Joseph Magnin chain. But it was the way he remodeled the Santa Monica house he shared with his second wife, Berta Aguilera, a native of Panama he married in 1975, that first brought him national and international attention.
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It was a small, pink, two-story bungalow built in 1920 that he and Berta bought it in 1977. Gehry quickly set to work remaking it — taking off huge sections of its facade and replacing them with glass, corrugated metal and exposed wood framing. (A later reworking added chain-link fencing.) His inspiration was not any architectural theory or school so much as the workaday landscape of Southern California itself, the brash free-for-all he had noticed as soon as he arrived in L.A.
The house attracted critics and fellow architects throughout the 1980s. The attention it brought him led to a string of significant commissions in that decade. Gehry designed several buildings for the Loyola Law School <https://tinyurl.com/jz64cs> campus near downtown L.A. He turned a warehouse in Little Tokyo into the Temporary Contemporary, later renamed the Geffen Contemporary, for the Museum of Contemporary Art (a building that was better received than the design of MOCA’s more formal main museum building <https://tinyurl.com/33z8434m> by Japanese architect Arata Isozaki.)
Throughout his career, Gehry would continue to show a knack for sensitively repurposing old buildings. His Pierre Boulez Saal <https://tinyurl.com/2uw3u4bp> in Berlin, which opened in 2017, transformed a historic warehouse once used to store opera sets into a beckoning communal performance space. And in 2021, he transformed a drab 1960s bank branch in Inglewood into a graceful rehearsal and performance space for Youth Orchestra Los Angeles.
“It’s not a precious building,” he said of the YOLA project upon its completion. “But it’s precious in what it does.”
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But it was his firm’s design for Disney Hall that served as the professional tipping point. In 1988, Gehry won a high-profile competition to design a new home for the Los Angeles Philharmonic on Grand Avenue in downtown L.A., an expansion of the Music Center campus next door. As the only L.A. architect in the field, he beat out a group of finalists that included several of the biggest names in 1980s architecture, including Hans Hollein of Austria and London-based James Stirling.
The victory was at least partial vindication after years in which Gehry struggled to earn many significant commissions, particularly for civic and cultural projects, in L.A.
Though construction of the concert hall would be delayed, the achievement helped him win the Pritzker Prize, architecture’s top honor, in 1989. Gehry was the first L.A. architect to win a Pritzker. The jury citation read, in part, “Refreshingly original and totally American, proceeding as it does from his populist Southern California perspective, Gehry’s work is a highly refined, sophisticated and adventurous aesthetic that emphasizes the art of architecture.”
Before Disney could be realized, the transformative Bilbao design helped make Gehry a household name. In the early 1990s, New York’s Guggenheim Museum, beginning what would become a global expansion, commissioned Gehry to design a branch in Bilbao. The building, clad in titanium panels and almost impossibly beautiful in photographs, opened in 1997. A review that appeared on the cover of the New York Times Magazine, written by the architecture critic Herbert Muschamp, carried the headline “The Miracle in Bilbao.”
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The opening of the building was almost perfectly timed for maximum impact within the profession. Architecture was in a funk, aimless and beaten down by the recession of the early and middle 1990s. “This building’s design and construction,” Muschamp wrote, “have coincided with the waning of a period when American architecture spectacularly lost its way.” He called the museum not just “wondrous” but “a Lourdes for a crippled culture.”
That rave notice and the many others that followed, along with the rapturous reports sent back by artists and tourists alike, helped shame L.A. into reviving the floundering plans for Disney Hall.
By 1998 construction on the hall had resumed. And five years later, in 2003, the Gehry building that was supposed to precede the museum in Spain, clad in shimmering steel panels in place of Bilbao’s titanium, had opened at the top of Bunker Hill.
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It was a startling symbol of architectural talent. It was also a reminder of how long it took L.A. to fully recognize the brilliance of an architect who since his teenage years had called the city home — and indeed had put a little bit of Southern California, its looseness and tolerance, into almost every building he designed.
Gehry is survived by his wife, Berta, and four children. _LATimes

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11 FRANK GEHRY BUILDINGS IN LOS ANGELES
<https://tinyurl.com/yc2adfza> . _LATimes

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RANK GEHRY OBITUARY by Charles Jencks and Oliver Wainwright
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Frank Gehry, who has died aged 96 after a respiratory illness, influenced the course of world architecture at least twice. First, in the 1970s, with his informal ad hoc aesthetic, he showed how such material as chain-link fencing could be turned into an expressive art form. Secondly, in the 1990s, he showed how the computer could be used to help realise extraordinarily complex forms, unleashing the thrashing metallic fish of the Guggenheim Museum in Bilbao <https://tinyurl.com/yjp3uczp> and a fleet of similarly crumpled creations.
When it opened in 1997, the titanium-covered Guggenheim captured the imagination of the architectural profession and the world’s media. It was hailed as the leading example of the new paradigm of computer-led design, and a convincing piece of urban sculpture, writhing along the riverbank, part palazzo, part ship. The impact on museums and the world of art was profound, as what became known as the “Bilbao effect” transformed the rust-belt city in northern Spain into a tourist destination. In two years, helped by the media feeding frenzy that accompanied its opening, Gehry’s museum was said to have added $400m to the city’s fortunes.
For some, the spectacle of the container was deemed to detract from the art inside. In the view of the critic Hal Foster, Gehry “has given his clients too much of what they want, a sublime space that overwhelms the viewer, a spectacular image that can circulate through the media and around the world as brand”.
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More than any other architect of his generation, Gehry amplified the role of architecture as a brand. His marketing power would turn out to be his key strength, as well as his biggest weakness, with some of his later projects descending into self-referential cliche.
A rumpled everyman who always dressed in T-shirts and baggy trousers, Gehry displayed a relaxed, informal character that was the key to his architecture – it was always fresh, inclusive and willing to take risks. Gregarious, ready to break into a grin, he was “Frank” to his clients, with whom he often had long friendships. But he also could be impatient and cantankerous, too, particularly later in life. At a 2014 press conference in Spain, for instance, he dismissed most modern architecture as “pure shit” and, in response to a question he did not like, gave a journalist the middle finger. <https://tinyurl.com/5t3wnypd>
Born and brought up in Toronto, Canada, Frank was the son of Jewish immigrants, Thelma (nee Kaplanski) and Irving Goldberg. Having experienced antisemitism when young, in his 20s he changed his name from Goldberg to Gehry, something that did smooth the way to acceptance, and jobs, but also brought him remorse. Later on, and paradoxically, this early denial made him accentuate his Jewish background, and his role as outsider.
He moved to California in 1947 and, after a stint as a lorry driver, gained an architecture degree at the University of Southern California (1954). After military service, in 1956 he started studying city planning at Harvard – but left before completing the course, disillusioned. He then worked with the pragmatic modernist Victor Gruen <https://tinyurl.com/bdf9zrvv> , inventor of the shopping mall, and William Pereira <https://tinyurl.com/352nfhhj> , a slick and commercial realist. The result of this experience in the marketplace of America would be what Gehry called the “cheapskate aesthetic”, a tough or “dirty realism” that was later to inspire a generation of architects, including Rem Koolhaas. In 1961 he spent time in André Rémondet’s atelier in Paris.
Before Gehry arrived at his distinctive synthesis, he struggled with minor house conversions, minimalist barns, and a few artist studios, having set up his own firm, Gehry & Associates, in Los Angeles in 1962. Noteworthy was his Danziger Studio <https://tinyurl.com/4z8w2sc5> of 1964, three stuccoed boxes with a no-nonsense interior of exposed beams and metal shelving, all of which focused on a central pool table, for the graphic artist Lou Danziger.
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Unappreciated, as he saw it, by local Los Angeles architects, Gehry looked to artists for acceptance and ideas. This led to a series of friendships, in the late 1960s and early 70s, with Danziger and Ron Davis, for both of whom he built houses, and with Robert Rauschenberg, Ed Ruscha and Claes Oldenburg. From them he learned the lessons of canny transformation, the “funk art” aesthetic, how to expand a pair of binoculars to the scale of a whole building (which he did with Oldenburg, for the Chiat/Day “Binoculars” Building <https://tinyurl.com/4ddypyzj> built in Venice, Los Angeles, in 1991).
From the more conceptual and abstract artists, such as Larry Bell, Carl Andre <https://tinyurl.com/3u4crv4k> and Richard Serra, he learned the lessons of displacement and reduction; how to use materials in a repetitive but sublime way. Gehry thus fashioned his cheapskate aesthetic, which fitted very well into the southern California culture of the time. By 1972, with his studio/residence <https://tinyurl.com/eub6hmxm> for Davis, Gehry was on to something interesting, a position outside normal architecture that was almost art, almost sculpture – and almost the wry assemblage of a hardware store. The skewed spaces and hard-edged ambiguities of this building mirrored Davis’s <https://tinyurl.com/29s5rfx7> geometrical paintings.
In 1978, married by now to Berta Aguilera, his second wife, he completed a house <https://tinyurl.com/mr45b7be> for his own family, a small abode in Santa Monica which became for a while the most notorious house in America. It was loved by the avant-garde, but was hated by the neighbours and burghers of LA (who brought their dogs to foul its garden). Time magazine, and Philip Johnson, legitimised it as the freshest creation in architecture.
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Still, it did not lead to big commissions, nor acceptance in downtown Los Angeles, and so Gehry continued to develop through cheapskate jobs, chain-link surrounded architecture for the Cabrillo Marine Museum <https://tinyurl.com/mrywddcm> (1981), for many small houses, and for the Loyola Law School <https://tinyurl.com/37nvjf29> (1980). This last, low-cost scheme showed his pragmatism could produce a convincing informal urbanism. A village of simple volumetric shapes and unusual materials – brown Finnish plywood – gave fresh meaning to the then fashionable notion of contextualism by elevating the banal and industrial.
Located in a dangerous, rundown part of central LA, it was also his answer to the classicists. Whereas they proffered Corinthian columns for ornament, Gehry answered: “Three hundred million years before man was fish <https://tinyurl.com/2p9n4ua2> ... if you gotta go back ... Why are you stopping at the Greeks?”. Soon natural metaphors populated his work.
Artists helped Gehry steer around professional orthodoxy and produce work that, by conventional standards, was zany but cleverly apt. A series of postmodern metaphors dominated his work of the middle 1980s: the California Aerospace Museum <https://tinyurl.com/ym9wdj7d> (1984) announced its use with a Lockheed F104 Starfighter hovering over a giant door; a restaurant, Rebecca’s, <https://tinyurl.com/3uwzdc5f> in Venice, California (1986), dramatised a night out with giant trees, an octopus, alligator and several fish hanging about its interior. Significantly, the overlarge animals and fish were explored again and again, in different media, influencing his work for the coming decades.
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In the meantime, Gehry started to pick up one award after another and became a favourite of the architectural profession. In 1989 he received the Pritzker prize, the so-called Nobel of architecture, and in 1992 the Japanese Imperiale award in architecture. He held academic appointments at Harvard, and received the Harvard arts medal in 2016. In 2000 he received the RIBA gold medal, and in 2016, from the US president, Barack Obama, the presidential medal of freedom. The success was partly a matter of Gehry’s relaxed charm, his humour and the way his unassuming figure – “like a little dumpling”, Bob Geldof said – captured the popular imagination.
In 1986, Gehry had his first museum retrospective, organised by the Walker Art Center in Minneapolis. The show travelled to the Whitney Museum in New York, where the director of the Guggenheim, Thomas Krens, understood its importance. Krens commissioned Gehry for a large art project, which came to nothing, and during the late 1980s he started developing his fish-grammar into something else.
The first indication of a breakthrough was the small furniture museum for Vitra <https://tinyurl.com/4we8wxkw> , in Weil am Rhein, Germany, in 1989, then a series of projects, notably a fish sculpture in Barcelona (1992) and a sprawling mansion for the insurance magnate Peter Lewis, near Cleveland, Ohio. The $82m Lewis House <https://tinyurl.com/22mapxrw> was never built, but it allowed Gehry to experiment wildly with his new vocabulary – wiggly glass, roofs that ruckled like fabric, horse-headed rooms and the abstract trout or salmon.
Many critics thought he had gone mad; psychologists delighted at the Jewish, Freudian and Christian symbolism of the fish; Gehry talked about “the proper fish-scale”. The 11-year project, which generated $6m in fees before it was cancelled, funded his studio’s development of Catia software (computer-aided three-dimensional interactive application), originally intended for designing aircraft, which enabled his complex forms to be linked up directly with the manufacturing process. It was a breakthrough in the building industry at the time, and spawned a separate branch of the office, Gehry Technologies, later sold to tech giant Trimble.
The first result of this digital experimentation was the design for the Guggenheim in Bilbao in 1991, which Gehry won in a limited competition against Arata Isozaki and Coop Himmelblau. Here all those abstracted fish curves, and the riotous forms of the Lewis House, were brought into a related grammar and built from a common material, titanium, which would become his hallmark.
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The Bilbao effect also reverberated in Gehry’s adopted home town, Los Angeles, and forced the city that had lost its nerve to resume work on his Walt Disney Concert Hall <https://tinyurl.com/mvtwenx4> . Launched in 1987 and finally completed in 2003, the project was subject to more than 10,000 requests for information from contractor to architect, resulting in a legal dispute that ended in a costly settlement. The problems did not stop there. When it was finished, neighbours discovered that the building’s concave polished steel surfaces had the effect of focusing the sun’s rays into their apartments, leading to skyrocketing air-conditioning bills and the danger of blinding passing drivers. Returning to manual methods, Gehry’s team had to sand down the offending panels to eliminate the glare.
Such practical issues and budget over-runs did not deter the flood of future clients. Large commissions poured in; major iconic shapes would come to exist all round the world. There is the 76-storey skyscraper in Manhattan – simply branded New York by Gehry <https://tinyurl.com/4zdtpr9m> – that hangs like a sheer silk scarf, rippling in the wind. There are tumbling university buildings in Massachusetts and Cincinnati and a museum <https://tinyurl.com/4pphu9su> shaped like a giant smashed guitar in Seattle.
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A building for Sydney’s University of Technology in 2014 saw Gehry apply his crumpling technique to brick walls, <https://tinyurl.com/yud2axey> conjuring a jaunty complex that was compared to a pile of brown paper bags. A vast gallery for the Foundation Louis Vuitton in Paris, also completed in 2014, saw him push the possibilities of double-curved glass <https://tinyurl.com/5wenybvt> at eye-watering expense, while a recent apartment complex <https://tinyurl.com/2mpc9y8b> next to Battersea Power Station in London showed how his signature style could be deployed as little more than a branding exercise to clothe the latest luxury investment opportunity.
Meanwhile, Gehry’s celebrity status only continued to grow. Becoming a household name by the 2000s, he even appeared on an episode of the Simpsons <https://tinyurl.com/452fcr47> , designing Springfield opera house in the shape of a scrunched-up envelope. He made a hat for Lady Gaga <https://tinyurl.com/6nuzzunf> , collaborated with Brad Pitt on an affordable housing initiative, and was hired by Mark Zuckerberg to design Facebook’s gargantuan office <https://tinyurl.com/yjb5bkca> in Menlo Park, California.
His Dwight D Eisenhower Memorial <https://tinyurl.com/6erpa86h> in Washington (2021) brought out differing views as to how a hero should be commemorated in the modern world. More crumpling <https://tinyurl.com/4hx66c4t> came with a twisted structure incorporating 11,000 stainless steel panels at the Luma Arles <https://tinyurl.com/43779azn> creative campus (also 2021) in southern France. Gehry’s projects continued in California, and yet to be completed is the Guggenheim Abu Dhabi <https://tinyurl.com/38rwafch> , again putting the architect’s stamp on the visual experience before the visitor gets anywhere near the art on display inside.
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However, Gehry also kept time for modest and personal commissions, such as a Maggie’s cancer care centre in Dundee (2003). It was designed as an act of friendship for Charles Jencks’ wife <https://tinyurl.com/mryar499> , who had died in 1995.
Essential to the whole story was the support of his family, particularly Berta. She was constantly at Gehry’s side, or in the background handling the finances, and making a large organisation feel like an informal family.
She and their two sons, Sam and Alejandro, survive him, as does his daughter, Brina, from his first marriage, in 1952, to Anita Snyder, which ended in divorce. Another daughter, Leslie, from his first marriage, died in 2008.
Charles Jencks died in 2019 _GuardianUK

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FROM BILBAO TO LAS VEGAS: FRANK GEHRY’S ARCHITECTURE – IN PICTURES
<https://tinyurl.com/yc4dsr2s> _GuardianUK