Frank Gehry | 10
G.11 Bilbao Guggenheim Museum; Urban context study, scale 1:500 m,
looking west along the Nervion River.
G.12 Bilbao Guggenheim Museum Design Sketch; part of the plan, look-­
ing west along the Nervion River.
Guggenheim Museum Bilbao
Bilbao, Spain 1991-97
How he does it is worth considering. Take the 1997 Gug-
understand what makes this building so unusual. Gen-
genheim Museum Bilbao, which has been the object of
erosity has a lot to do with it.
such lavish and universal praise. Before going to Bilbao I’d read all the kudos and analysis. I’d read about
The building is of course a masterpiece of contextual
the advanced computer technology brought to bear on
urbanism, billowing up from a bend in the river to meet
the construction of evanescent sculptural forms, which
the gruff city and gentle hills surrounding it. The fa-
make for a phantasmagoria of architectural space. I’d
mous titanium cladding identifies the spaces for con-
read that the building offers rare hope to eternal skep-
temporary art inside the immense structure, separating
tics about the possibility for significant architecture
them out from other functions that are housed in el-
and planning as catalysts for the spiritual revival of ne-
egant limestone boxes, and from administrative spaces
glected urban environments. I’d read that, finally, here
clad in stucco painted bright, exuberant colors. Geh-
was a building about which critics did not have to say
ry’s riff on Frank Lloyd Wright’s famous rotunda for the
“yes, but;” they could just say yes, without having to
Guggenheim’s parent museum in New York is a marvel
qualify it. Not until I got there, though, did I begin to
of savvy design, at once respectful of its origin yet de-
Frank Gehry | 11
Frank Gehry | 10
G.11 Bilbao Guggenheim Museum; Urban context study, scale 1:500 m,
looking west along the Nervion River.
G.12 Bilbao Guggenheim Museum Design Sketch; part of the plan,
looking west along the Nervion River.
Guggenheim Museum Bilbao
Bilbao, Spain 1991-97
How he does it is worth considering. Take the 1997 Gug-
osity has a lot to do with it.
genheim Museum Bilbao, which has been the object of
such lavish and universal praise. Before going to Bilbao
The building is of course a masterpiece of contextual ur-
I’d read all the kudos and analysis. I’d read about the ad-
banism, billowing up from a bend in the river to meet the
vanced computer technology brought to bear on the con-
gruff city and gentle hills surrounding it. The famous tita-
struction of evanescent sculptural forms, which make for
nium cladding identifies the spaces for contemporary art in-
a phantasmagoria of architectural space. I’d read that the
side the immense structure, separating them out from other
building offers rare hope to eternal skeptics about the pos-
functions that are housed in elegant limestone boxes, and
sibility for significant architecture and planning as catalysts
from administrative spaces clad in stucco painted bright, ex-
for the spiritual revival of neglected urban environments. I’d
uberant colors. Gehry’s riff on Frank Lloyd Wright’s famous
read that, finally, here was a building about which critics did
rotunda for the Guggenheim’s parent museum in New York
not have to say “yes, but;” they could just say yes, without
is a marvel of savvy design, at once respectful of its origin
having to qualify it. Not until I got there, though, did I begin
yet determined to be unique. The atrium explodes upward,
to understand what makes this building so unusual. Gener-
establishing a central vertical spine around which the rest
Frank Gehry | 11
Frank Gehry | 10
G.11 Bilbao Guggenheim Museum; Urban context study, scale 1:500 m,
looking west along the Nervion River.
G.12 Bilbao Guggenheim Museum Design Sketch; part of the plan,
looking west along the Nervion River.
Guggenheim Museum Bilbao
Bilbao, Spain 1991-97
How he does it is worth considering. Take the 1997 Guggen-
The building is of course a masterpiece of contextual urbanism,
heim Museum Bilbao, which has been the object of such lavish
billowing up from a bend in the river to meet the gruff city and
and universal praise. Before going to Bilbao I’d read all the kudos
gentle hills surrounding it. The famous titanium cladding identi-
and analysis. I’d read about the advanced computer technology
fies the spaces for contemporary art inside the immense struc-
brought to bear on the construction of evanescent sculptural
ture, separating them out from other functions that are housed
forms, which make for a phantasmagoria of architectural space. I’d
in elegant limestone boxes, and from administrative spaces clad
read that the building offers rare hope to eternal skeptics about
in stucco painted bright, exuberant colors. Gehry’s riff on Frank
the possibility for significant architecture and planning as catalysts
Lloyd Wright’s famous rotunda for the Guggenheim’s parent
for the spiritual revival of neglected urban environments. I’d read
museum in New York is a marvel of savvy design, at once respect-
that, finally, here was a building about which critics did not have
ful of its origin yet determined to be unique. The atrium explodes
to say “yes, but;” they could just say yes, without having to qualify
upward, establishing a central vertical spine around which the rest
it. Not until I got there, though, did I begin to understand what
of the building unfurls on several floors. This light-filled tower of
makes this building so unusual. Generosity has a lot to do with it.
curved, shattered, sometimes transparent planes allows a visitor
to continuously orient himself wherever he goes in the rambling
Frank Gehry | 11