Comparative Points Guggenheim museum , New York Guggenheim museum , Bilbao Architect
Descrição do Produto
Comparative Points
Architect
History
Guggenheim museum , New York
Guggenheim museum , Bilbao
Frank Lloyd Wright ( June 8, 1867 – April 9, 1959) was an American architect, interior designer, writer and educator, who designed more than 1000 structures and completed 532 works. Wright believed in designing structures which were in harmony with humanity and its environment, a philosophy he called organic architecture. This philosophy was best exemplified by his design for Falling water (1935), which has been called "the best all-time work of American architecture". Wright was a leader of the Prairie School movement of architecture and developed the concept of the Usonian home, his unique vision for urban planning in the United States.
Frank Owen Gehry, ( February 28, 1929) is a Canadian-American Pritzker Prize–winning architect based in Los Angeles. A number of his buildings, including his private residence, have become world renowned tourist attractions. His works are cited as being among the most important works of contemporary architecture in the 2010 World Architecture Survey, which led Vanity Fair to label him as "the most important architect of our age". Gehry's best-known works include the titanium-covered Guggenheim Museum in Bilbao, Spain; MIT Ray and Maria State Center in Cambridge, Massachusetts; Walt Disney Concert Hall in downtown Los Angeles .
The Solomon R. Guggenheim Museum, often referred to as The Guggenheim, is the permanent home of a renowned and continuously expanding collection of Impressionist, Post-Impressionist, early Modern and contemporary art and also features special exhibitions throughout the year. The museum was established by the Solomon R. Guggenheim Foundation in 1939 as the Museum of Non-Objective Painting, under the guidance of its first director, the artist Hilla von Rebay. It adopted its current name after the death of its founder, Solomon R. Guggenheim, in 1952 .
In 1991, the Basque government proposed to the Solomon R. Guggenheim Foundation that it fund a Guggenheim museum to be built in Bilbao’s dilapidated port area, once the city’s main source of income. Appropriately, the museum became part of a larger redevelopment plan that was meant to renew and modernize the industrial town. Almost immediately after its opening in 1997, the Guggenheim Bilbao became a popular tourist attraction, drawing visitors from around the world.
Comparative Points
Context
Guggenheim museum , New York
Guggenheim museum , Bilbao
The riverside site is on the northern edge of the city center. A road and railway line is to the south, the river to the north, and the concrete structure of the Salve Bridge to the east. Making a tangible physical connection with the city, the building circulates and extrudes around the Salve Bridge, creates a curved riverside promenade, and forms a generous new public plaza on the south side of the site where the city grid The museum building is an eye-catching structure that end completely ignores its urban context. Throughout his s. career, Frank Lloyd Wright's designs had been inspired by nature and this buildings was no exception. The organic spiral shape is said to embody the natural shapes found in Central Park across the street. Due to its unconventional shape the soft white colored building stands out and even in a landmark-filled city like New York, it continues to attract the attention of passersby.
Comparative Points
Guggenheim museum , New York
Form
The exterior of the Guggenheim Museum is a stacked white cylinder of reinforced concrete swirling towards the sky. The museum’s dramatic curves of the exterior, however, had an even more stunning effect on the interior. Inside Wright proposed “one great space on a continuous floor,” and his concept was a success. Walking inside, a visitor’s first intake is a huge atrium, rising 92′ in height to an expansive glass dome. Along the sides of this atrium is a continuous ramp uncoiling upwards six stories for more than one-quarter of a mile, allowing for one floor to flow into another. The ramp also creates a procession in which a visitor experiences the art displayed along the walls as they climb upwards towards the sky. The design of the museum as one continuous floor with the levels of ramps overlooking the open atrium also allowed for the interaction of people on different levels, enhancing the design in section.
Guggenheim museum , Bilbao
Although the metallic form of the exterior looks almost floral from above, from the ground the building more closely resembles a boat, evoking the past industrial life of the port of Bilbao. Constructed of titanium, limestone, and glass, the seemingly random curves of the exterior are designed to catch the light and react to the sun and the weather. Fixing clips make a shallow central dent in each of the .38mm titanium tiles, making the surface appear to ripple in the changing light and giving an extraordinary iridescence to the overall composition. Because of their mathematical intricacy, the twisting curves were designed using a 3-D design software called CATIA, which allows for complex designs and calculations that would not have been possible a few years ago. Essentially, the software digitizes points on the edges, surfaces, and intersections of Gehry’s hand-built models to construct onscreen models that can then be manipulated in the manner of
animated cartoons.
Comparative Points
Guggenheim museum , New York
Guggenheim museum , Bilbao
Structure
The entire project actually incorporates three types of concrete. Light weight expanded-shale concrete is used in the ramp and floors, while stone concrete has been used for the interior walls to assure a smooth finish. The outer walls were formed by spraying 5 inches of concrete against curved plywood forms, this work being handled from the inside of the structure. Wright had a problem with Manhattan’s building-code administrators who argued with him over structural issues, such as the glass dome that had to be reduced in size and redesigned to include concrete ribs that are extensions of the discreet structural pillars on the exterior walls.
The building’s walls and ceilings are load-bearing, containing an internal structure of metal rods that form grids with triangles. CATIA calculated the number of bars required in each location, as well as the bars’ positions and orientations. In addition to this structure, the walls and ceilings have several insulating layers and an outer coating of titanium. Each piece is exclusive to its location, determined by the CATIA software.
Color
Comparative Points
Circulation
In Frank Lloyd Wright's earliest drawings of the Guggenheim, the exterior walls were red or orange marble with verdigris copper banding on the top and bottom. When the museum was built, the color was a more subtle brownish yellow. Over the years, the walls were repainted an almost white shade of gray. During recent restorations, preservationists have asked which colors would be most appropriate. Up to eleven layers of paint were stripped, and scientists used electron microscopes and infrared spectroscopes to analyze each layer. Eventually, the New York City Landmarks Preservation Commission decided to keep the museum white. Critics complained that Frank Lloyd Wright would have chosen bolder hues.
In order to “fulfill the aesthetic requirements of Frank Gehry” three different elements were used to form the exterior surfaces of the museum. These three cladding materials are titanium, stone and glass. The location of each material is not only defined by the appearance of the exterior, but is also related to the different functions of the interior space: “Titanium cladding for the galleries, limestone for the public facilities (restaurant, library, etc.), and blue render for the administration.”
Guggenheim museum , New York
Guggenheim museum , Bilbao
Wright has based his design on the idea of a spiral ramped building topped by a large skylight. He conceived of the museum as an airy, open place where visitors would not have to retrace their steps. He planned a continuous ramp curling around a great progress central
Despite the complexity and apparent formal chaos, the plan is really quite simple. nineteen galleries of varying size and configuration are arranged in three storey around the dramatic, pivotal atrium, so that
Materials
Comparative Points
Interior
space. The rotunda floor functions almost like a town plaza. Visitors on the ramps not only view the art, but also are aware of people in other areas of the museum. Wright described his plan as one in which the visitor would enter the building on the ground level, take an elevator to the top, and descend the gradually sloped ramp, enjoying the art on display, until returning to the entrance. It’s a building that you cannot experience by sitting in one place .
around the building is logical and circuitous, by means of a network of walkways, stairs and glazed lifts. The light-filled atrium serves as the organizing center of the museum, distributing 11,000 square meters of exhibition space over the galleries. Ten of these galleries follow a classic orthogonal plan that can be identified from the exterior by a limestone finish. The remaining nine galleries are identified from the outside by swirling organic forms clad in titanium.
The Guggenheim is primarily composed of reinforced concrete . Gunite, or shotcrete, is the material used for the exterior of the spiral curved walls. Wright used gunite to achieve a seamless monolithic façade. Wright left out expansion joints, which would have created visual vertical breaks. He hoped the application of elastomeric paint, known as the “cocoon” would fill in the cracks formed during construction. The pairing of multiple types of concrete caused visible cracks in the façade. Gunite (shotcrete): a mixture of concrete and sand that is sprayed through a metal mesh with wooden formwork.
The most interesting and original material for the exterior was the titanium. .The choice of titanium was because of its value of color, texture and its capability of reflecting the light. At the same time titanium was valued because of its extraordinary mechanical capabilities and resistance to corrosion. Titanium reveals plastic values that allow it to adapt easily and flexibly to the complex surfaces of this radical design. The thin sheets of titanium also give the building a rippled effect that even flutters in the wind. Contrasting the free-flowing usage of the titanium, the stone cladding is located on areas of the building that are seemingly more stationary.
Guggenheim museum , New York
Guggenheim museum , Bilbao
The skylight dome intensify the centrality of the design through ways of radial beams that arise from the walls, as arched architraves which converge toward the center of the composition . The spiral ramp's diameter as it curves upwards allows for the entrance of light at each level adds sense of openness and luminosity to the visitor , while the color of the interior is a reflection of the exterior to confirm unity in design.
The interior of Bilbao museum is designed around a large light-filled atrium with views of Bilbao's estuary and the surrounding hills of the Basque country. The atrium , which Gehry nicknamed the flower because of its shape ,serves as the organizing center of the museum. In addition to both the atrium and the galleries the space visually integrate to the external landscape, incorporating the
cityscape as part of the building component.
In terms of urban compatibility Wright's museum contradicts with the usual chess board type of buildings , typical in New York , the outside of the building Urban presents strong links to the Compatibility past with flower boxes at street level and the possibility of seating . Although several possible locations were discussed , the building was finally built on the 5th Avenue in front of a large pond at the Central Park in New York which became a distinguished landmark later.
As for Gehry's museum he tried to involve the project within a larger urban scheme, revitalizing the waterfront, exploring the places from where better views could be enjoyed and those where the museum should have a more modest scale . Narrow scale of its streets where some of them traced back to middle ages caused inconvenience in viewing the building from a distance .
Watching the museum from outside ,you will surely feel the rhythm Wright created through the dramatic curves of the exterior , and this is reflected in harmony to the interior through the curved ramp . Balance was achieved Composition through the horizontal line joining the two cylinders . It was Wright's idea that the building is about movement through space as much as it is about space itself. Scale of the building is a bit odd to its surroundings but that created an iconic landmark.
Also the exterior is clamoring with its formal chaotic curves , the rhythm these curves are creating together is totally attracting . The horizontality of the building with the curves of its skyline generated an admirable balance .The interior is a reflection of movement between walls and ceiling curves while variety is celebrated by the interior finishes . Gehry designed a composition that made the world wonder about it and led him to challenge himself to reach to another building with such composition .
Comparative Points
Guggenheim museum , New York
Guggenheim museum , Bilbao
Visitors Appreciation
Impairment
The building has become a cultural icon and can be seen widely throughout popular culture . Walking inside through the ramp creates a procession in which a visitor experiences the art displayed along the walls as they climb upwards towards the sky. The New Yorker 'the most popular magazine in New York' has included the museum multiple times on its cover and cartoons . The museum is listed in the top 5 museums in New York among a list of 80 museum and that is according to the visitors reviews.
Although the space within the building is undeniably majestic and the building itself monumental, it was not perfectly successful in terms of function. The curved walls of the interior were intended so that paintings had to be tilted backward, “as on the artist’s easel.” This was unsuccessful because the paintings were still very difficult to display because of the concavity of the walls, and because of this before its opening 21 artists signed a letter protesting about their display of work in such a space.
During the first three years of operation, almost 4 million tourists visited the museum— generating about 500million in profit. Furthermore, the money visitors spent on hotels, restaurants, shops and transport collected over 100million in taxes, which more than offset the cost of the building. However, the promise of the “ Bilbao Effect” also sparked a building boom in “statement” architecture across the globe, one which proved imprudent in the wake of the recent economic crisis. Nevertheless, the Museum remains an iconic structure renowned for its complexity and form. and none of the visitors denied its beauty and uniqueness . In this catching facade one is searching for the entrance , and in front of the high glass wall in the middle of the facade there is a huge cylindrical column that supports a vaulted roof and for instance we are convinced that this is the entrance but while walking to reach it we find a giant spider that tells us we were wrong .Unlike the typical museum with a monumental stairway leading to the main portal, here the visitor walks down a long, gently sloping flight of stairs to the main entrance.
Guggenheim museum , New York
-Levine, Neil (1996). The Architecture of Frank Lloyd Wright. New Jersey: Princeton University Press -Sennott, R. Stephen. Encyclopedia of 20th-Century Architecture: Volume 2 (New York: Fitzroy Dearborn, 2004) -Storrer, William Allin. The Architecture of Frank Lloyd Wright: A Complete Catalogue (Chicago: The University of Chicago Press, 2002) -http://www.archdaily.com/422470/ad-classics-theguggenheim-museum-bilbao-frank-gehry/ -http://www.architectural-review.com/archive/1997december-guggenheim-museum-by-frank-o-gehry-andassociates-bilbao-spain/8603272.article
References
Guggenheim museum , Bilbao
-Coosje Van Bruggen, 1999 , Frank O Gehry:Guggenheim Museum Bilbao -Frank O Gehry , 2001 , Frank Gehry ,Architect (Guggenheim Museum Publications) -http://www.guggenheim-bilbao.es/en/the-building/ -http://www.bluffton.edu/~sullivanm/spain/bilbao/ gehryguggenheim/gehry.html -http://www.archdaily.com/422470/ad-classics-theguggenheim-museum-bilbao-frank-gehry/
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