Haus der Kunst development
I think there is an interesting correlation between the evolution of Frank Gehry's architecture and the evolution of Frank Stella's art. Neither does things just to be different. Rather, whatever 'style' is current is also a next step relative to what 'style' came before. Both artists have taken progressive steps with their works, steps that lead to ever freer use of form(s). Thus their 'expressionism' is not at all a free-for-all.
Judging from my own art/design experience/work, one has to know/do-it-by the rules in order to begin moving beyond the rules. And once you've gotten beyond the 'rules, then you work to understand the 'new rules' in order to begin understanding how to go beyond them. And on and on it goes.
learning from CAD and Stella
When I was CAD system at the University of Pennsylvania's Graduate School of Fine Art, I became acquainted with many of the landscape architect students, as they were the only students seriously learning CAD at the time, while most of the architecture students, or their teachers at least, saw very little use for CAD. The landscape students didn't use CAD so much for design, however, rather they utilized CAD for mapping integrated with data. Nonetheless, I remember when many of the landscape architect students were also busy working on a landscape design project for Battery Park City in New York. It was a challenging design project, and many of the students were having difficulties coming up with satisfactory solutions. I decided to quickly draw up my own design, which I did by hand in about two minutes, and hung the result on one of the computer room walls where I was sure the landscape architect students would see it. One of the students subsequently left a note on the drawing/design: "I fear computers have made us think we are more creative than we actually are!"
In retrospect, it was indeed CAD that made me more creative, or at least freer with form. It was also in the mid-1980s that I began to become aware of Frank Stella's work current at that time, particularly his 'Circuit' annd 'Cones and Pillars' series
As far as my design is concerned, it was the centerpiece sculpture that the landscape students most liked, i.e., a rectangular platform the size of the largest public elevator within the World Trade Center towers, and on this platform were as many life-size nude sculptures as it would take to fill it, like a crowded elevator, and trailing from this platform was a line of single nude sculptures meandering through the site and in into the Hudson River beyond.