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Frank Gehry, who passed away aged 96, influenced the direction of global design at least in two major phases. First, in the 1970s, his ad hoc style revealed how materials like wire mesh could be elevated into an powerful architectural element. Subsequently, in the 1990s, he demonstrated the use of computers to realise breathtakingly intricate forms, giving birth to the undulating metallic fish of the Bilbao Guggenheim and a series of similarly crumpled structures.

An Architectural Turning Point

Upon its was inaugurated in 1997, the shimmering titanium museum seized the imagination of the design world and global media. It was celebrated as the prime example of a new era of computer-led design and a masterful piece of urban sculpture, writhing along the riverbank, a blend of renaissance palace and a hint of ocean liner. Its influence on museums and the art world was immense, as the so-called “Bilbao phenomenon” transformed a post-industrial city in northern Spain into a major cultural hub. In just 24 months, fueled by a global media storm, Gehry’s museum was said with adding $400 million to the city’s fortunes.

In the eyes of some, the spectacle of the building was deemed to detract from the art inside. One critic argued that Gehry had “provided patrons too much of what they want, a sublime space that dwarfs the viewer, a striking icon that can travel through the media as a brand.”

Beyond any contemporary architect of his generation, Gehry expanded the role of architecture as a brand. This marketing power proved to be his greatest asset as well as a point of criticism, with some subsequent works descending into repetitive cliche.

Formative Years and the “Cheapskate Aesthetic”

{A rumpled everyman who favored T-shirts and baggy trousers, Gehry’s relaxed demeanor was central to his design philosophy—it was always fresh, accessible, and willing to take risks. Gregarious and ready to grin, he was “Frank” to his patrons, with whom he frequently cultivated lifelong relationships. Yet, he could also be brusque and irritable, especially in his later years. On one notable occasion in 2014, he derided much contemporary design as “rubbish” and reportedly gave a reporter the one-finger salute.

Born Toronto, Canada, Frank was the son of immigrant parents. Facing prejudice in his youth, he changed his surname from Goldberg to Gehry in his twenties, a move that eased his career path but later caused him remorse. Ironically, this early denial led him to later embrace his heritage and identity as an maverick.

He moved to California in 1947 and, following working as a truck driver, obtained an architecture degree. After military service, he briefly studied city planning at Harvard but left, disillusioned. He then worked for practical modernists like Victor Gruen and William Pereira, an experience that fostered what Gehry termed his “cheapskate aesthetic,” a raw or “gritty authenticity” that would inspire a wave of designers.

Collaboration with Artists and the Path to Distinction

Before achieving his signature synthesis, Gehry worked on small-scale renovations and studios for artists. Feeling unappreciated by the Los Angeles architectural establishment, he turned to artists for collaboration and ideas. This led to fruitful friendships with figures like Robert Rauschenberg and Claes Oldenburg, from whom he learned the art of canny transformation and a “funk art” sensibility.

Inspired by more minimalist artists like Richard Serra, he learned the lessons of displacement and simplification. This fusion of influences solidified his idiosyncratic aesthetic, perfectly suited to the West Coast zeitgeist of the era. A major work was his 1978 residence in Santa Monica, a small house wrapped in corrugated metal and other industrial materials that became notorious—celebrated by the progressive but reviled by neighbors.

Mastering the Machine: The Global Icon

The major evolution came when Gehry started harnessing computer software, specifically CATIA, to translate his ever-more-ambitious visions. The initial major fruit of this was the design for the Guggenheim Museum in Bilbao in 1991. Here, his longstanding motifs of organic, flowing lines were brought together in a coherent architectural language clad in titanium, which became his hallmark material.

The extraordinary impact of Bilbao—the “Bilbao effect”—echoed worldwide and cemented Gehry’s status as a global starchitect. Prestigious commissions followed: the Walt Disney Concert Hall in Los Angeles, a skyscraper in New York, the Foundation Louis Vuitton in Paris, and a university building in Sydney that was likened to a stack of brown paper bags.

Gehry's fame transcended architecture; he was featured on *The Simpsons*, created a headpiece for Lady Gaga, and collaborated with figures from Brad Pitt to Mark Zuckerberg. However, he also undertook humble and personal projects, such as a cancer care centre in Dundee, designed as a personal tribute.

A Lasting Influence and Personal Life

Frank Gehry was awarded numerous accolades, including the Pritzker Prize (1989) and the Presidential Medal of Freedom (2016). Central to his story was the steadfast support of his second wife, Berta Aguilera, who managed the business side of his practice. Berta, along with their two sons and a daughter from his first marriage, survive him.

Frank Owen Gehry, born on February 28, 1929, has left a legacy permanently altered by his audacious forays into form, software, and the very idea of what a building can be.