Echoing the words of Prof. Wise: The Guggenheim Museum is an architecture that descends from the pedestal (like almost all the works by Gehry) to deal directly with the urban space; context increasingly consolidated and unhinge, such as happens in Prague, where the theme becomes the pretext for a corner to upset the system block / block, but also the chaos of what defines cheapscape Gehry. The landscape of poor, degraded, isolated, marginal, where no one wants to go, it is precisely here that we find the resources to build a real work only. The most shining example is precisely the museum in Bilbao, which is in perfect harmony with its surroundings, is continuous with the space. Boccioni's work has in it the inspiration of this new conception of architecture, sculpture, new energy that eradicates the building of the smallest canonical to project into that of pure energy. Gehry's work, like that of Boccioni, is pervaded by a power which knows no previous. The masses, which move and coming to shape even the surrounding space, are alive are slim or muscle contracts in an effort racing, bumps are organic refuse the Newtonian laws of the land, are natural elements that stretch towards the divine. The light does not precipitate on the surface for refraction, but slides over them, justifying their essence as velvet deployed by the wind.
From all this justifies the role of this museum as a cathedral of modern culture, but also the presence of the tower that deserves to exist as much as the Giotto's bell tower in Florence. These are not fundamental to the reporting and identification of a goal, the tower of Bilbao is the flag stuck in the desolate landscape that runs along the river banks to declare the conquest of this moon mechanics.
who is convinced that the Guggenheim is only the form remains disappointed at the first visit: it is a machine working perfectly, almost sentient, because it determines the precise relationship between the container and the contained function, but also between the latter and the outer space which is measured as as the internal one. The appearance is disconcerting is that even as machine or object-technology industry, has voluntarily refused the serialization process imposed on industrial products.
Nevertheless there is still a clarification to be done: the roots of the conformation space dynamics are older than the period during which it operated Futurist Boccioni. They are to be found in the work of one of the greatest architects of Italian history, or Francesco Castelli, better known as Borromini. He laid the foundation for fundamental and useful modern developments which we see today. His major works are pervaded by a sense of continuity, energy and movement so that the eye observer does not find references on which to dwell, but insatiably wheel on all surfaces. Forms determined by Borromini model space is internal and external, have the power to explode or implode in exchange for a rhythm that can be read on several levels: for example, is what happens to St. Ives. The momentum, energy, power, dynamism, speed, all concepts are based on this key figure of 600. After four centuries, the Guggenheim Museum in Bilbao, the explosion of baroque concepts condensed over the years and so well expressed by the sculptures of Boccioni. This courage is the result of a wise use of Information Technology, not the common way to draw, but a simulacrum of new foundations for modern architecture.
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