Frank Gehry, the architect whose sculptural buildings became catalysts for urban redevelopment and made him one of the most celebrated designers of the past half-century, died Friday at his home in Santa Monica, California. He was 96.

His death followed a brief illness, his office said.

Gehry’s most influential work, the Guggenheim Museum Bilbao in Spain’s Basque region, opened in 1997 and quickly became a global case study in the economic power of cultural investment. The museum drew more than a million visitors in its first year and helped reposition a declining industrial city as a major tourism and business destination.

Its success sparked what city planners and developers would call the “Bilbao effect” — the belief that bold architecture could spur real estate activity, retail growth and broader urban renewal.

In 2014, Gehry said the museum’s impact on Bilbao “was pretty important,” noting that the project “changed the city” and became “an economic win-win for everybody.” He said the roughly €80M development had paid for itself many times over and helped transform Bilbao from a fading industrial hub into a prosperous regional center — an outcome he described as “a miracle, somehow.”

For many in commercial real estate, Gehry’s work became proof that design itself could move capital — shift foot traffic, reshape business district economics and help cities reposition stagnant assets. To that end, his projects became fixtures in underwriting decks and placemaking strategies.

Over more than six decades, Gehry produced landmark cultural and residential buildings shaped through advanced digital modeling. His portfolio included the Walt Disney Concert Hall in Los Angeles, the Fondation Louis Vuitton in Paris, the New World Center in Miami and the 876-foot residential tower at 8 Spruce St. in Lower Manhattan. He received the Pritzker Architecture Prize in 1989, which is often called the “Nobel Prize of Architecture.”

Originally from Toronto, Gehry first drew wide notice in 1978 with the renovation of his Santa Monica home, known as the Gehry Residence, wrapping a modest bungalow in plywood, metal and chain link, a polarizing experiment that set the tone for his later civic work. His ascent also sharpened debate over whether expressive architecture delivered enduring value or mere spectacle.

Gehry rejected the idea.

“You go into architecture to make the world a better place,” he told The New York Times in 2012. “A better place to live, to work, whatever. You don’t go into it as an ego trip. That comes later, with the press and all that stuff. In the beginning, it’s pretty innocent.”

At the time of his death, Gehry was still working on major commissions, including a Louis Vuitton flagship in Beverly Hills and a concert hall for the Colburn School in Los Angeles.