A Case Study into the Bilbao Guggenheim Museum
Antonio Gabriel — Stephen (Thursday)
Name: Guggenheim Museum
Location: Bilbao, Spain
Architect: Frank Gehry
Date of Construction: October 18th, 1997
Being hailed as one of “the greatest buildings of all time” (Philip Johnson), the Guggenheim Museum in Bilbao Spain achieved nothing less than transforming the Basque city into a touristic social hub, and to say this was unplanned would be to sell the architectural work of Frank Gehry short. This building was intended to be a grand display of modern engineering and artistic design, and it certainly lets that be known. But in order to understand the final result, we must analyze the design through every step of the process; from sketch to construction.
Pre-Construction
In the late 1980s, the Basque Country (a region of Spain that is autonomous from the Spanish government) had a difficult predicament. Their prized port of Bilbao was once a bustling city that serviced many sea-faring ventures, and being of great resource and profit to the Basque government. However a series of natural disasters, along with a general decline in the European need for an industrial hub, left the city (and the Basque country) in a state of decline.
The country aimed to deindustrialize Bilbao, as the early 1990s would only further cement the decline of the cities revenue. And so in transitioning to a service economy, the Basque government made a proposition to the Guggenheim organization: They would supply funding in exchange for the construction of another Guggenheim museum, acting as a beacon for tourism and — what they hoped would be — newfound wealth.
The Guggenheim organization agreed, and dispatched the world-renowned architect Frank Gehry who had already been well known for designs such as the Weismann art museum and his own home in Santa Monica, where he used very utilitarian materials in a highly boundary-breaking way. It was clear what direction the building’s shape was going to take, with the large panels of industrial metal being woven throughout all of Gehry’s design, the Guggenheim organization encouraged this path but with the ability to do it on an incredibly large scale.
And so Frank Gehry went to work, attempting to revive this dying port town with the sheer power of architectural statement through design.
Constructed Design
As Gehry and his firm began to iterate on the designs of the museum, it was clear that they were beginning to pull inspiration from the changing waterfront. It was well communicated to the architects that they would be designing the future of the Basque country, and so they aimed to dream big and create a centerpiece for this transformation. And while their were other firms being contacted for proposals of the museum, it was clear that Gehry would be the only one who could dream big enough for the job: “He was chosen for the strength of his vision” (Thomas Krens)
It’s important to realize that this building was designed with two different audiences in mind: Primarily for those working and investing in the city, living amongst this magnificent symbol of positive economic change, but also it is also meant to be a gallery space where art lovers can explore the depths of modern art. Ironically the latter is (in my personal opinion) more of an afterthought than the focus. Despite this, the museum still have a magnificent gallery space to display powerful art for those touring through the city. The interior walls are just as curved and weaving as the exterior, and would often present issues in regards to the presentation of the art on curvilinear walls. The heavy use of industrial metal and glass was a clear Gehry staple, but the pockets of stone interior also gave the museum a more traditionalist flare. But there was no mistaking that the building itself was the main piece of art, and walking within it’s walls only cemented this ideal.
The uniqueness of the eventual design can be largely attributed to the embrace of a new digital technology called CATIA, where the Gehry firm could analyze the stresspoints of a building’s design, and whether or not it would be feasible to construct it. This means that the design team could start to take larger risks in terms of the avant-garde design, as the structural integrity of the building could be tested prior to starting construction.
Greater Impact
Funnily enough, “the Bilbao effect” would later be coined to describe the eventual sociopolitical and economic changes that were sparked by the architectural innovation in Bilbao.
In terms of raw numbers, the city gained roughly $500 million from museum revenue and $100 in taxes, greatly outproducing the $89 million spent to finance the building’s construction. However the city’s change is deeper than the pure monetary gain, and can be seen in the stark gentrification that occurred in the surrounding area. While not free of criticism, this rise in economic value of the city of Bilbao was highly intentional; resting on the installation of the Guggenheim among other changes.
Being on the waterfront gave the building (and the city) great marketing from sea-faring traffic. The unique shape and story behind the building’s form gave Bilbao a calling card it desperately needed.
As for Gehry himself, he was propelled into stardom. His demand would skyrocket, as he took on many other important commissions like the Louis Vuitton foundation, Walt Disney concert hall, and Guggenheim Abu Dhabi.
This building was more than just a cool piece of structural art, but an inception point of great change in a once-struggling city.
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Media Analysis
Articles
“Art for Whose Sake? Modern Art Museums and their Role in Transforming Societies: The Case of the Guggenheim Bilbao”
The existence and creation story of the Guggenheim is one that we ought to study in order to apply its lessons to the rest of the world. And it would seem that specifically the fact that this is a modern art gallery has a role in being that instrument of propelling a city, although it is unclear on why.
The Evolution of Dynamicity in Architecture of Frank Gehry
Frank Gehry’s forms are very unconventional, often using twisted forms of steel and glass in order to express an emotion. This sort of twisted form can be seen as dynamic and moving, pointing the viewer in the exact direction that he wants them to be moved to. This is what allows him to create powerful pieces just through the form itself, and the growing technology around him facilitates that.
In Film
Rick Steves, who has a well-known show where he travels around Europe, visits the city of Bilbao and the Guggenheim Museum. He comments on the importance of the gallery and the effect it has on the inflow of tourist traffic in the city, but also speaks to Gehry’s inspirations. “The different forms jostle together like loose bottles. Also a section of the Bilbao museum, the statue called “Puppy,” is given a passover.
Interview with Gehry
Gehry comments on his various designs, including the Disney Hall in LA, and makes various emotions and philosophical statements about his work. Gehry takes the non-material aspects of his work very serious, and can even be quite grandiose when speaking on his designs and the effect they have on the world.
Flikr Photo Cache
The form of the museum lends itself well to the art it displays. The curved forms are leading the viewer throughout the experience, making a coherent display of art that can also make a statement. We can also appreciate the activity center where kids can play with various art and sketches.
Museum-Goer’s Blog
https://velvetescape.com/guggenheim-museum-bilbao-photos/
The museum is a great tourist attraction and is seemingly the highest priority in terms of things to do while in Bilbao. There are also great outdoor attractions such as “Puppy,” “Mamen,” and “Tall Tree and the Eye.”
Citations
Conasür. “The Bilbao Effect: Architecture Sparking Tourism in Modern Times.” CONASÜR, 23 July 2020, conasur.com/bilbao-effect-architecture-sparking-tourism.
The Construction of the Building | Guggenheim Museum Bilbao. www.guggenheim-bilbao.eus/en/the-building/the-construction.
Griffiths, Alyn, and Alyn Griffiths. “Frank Gehry’s Guggenheim Museum Bilbao Is ‘the Greatest Building of Our Time.’” Dezeen, 30 May 2022, www.dezeen.com/2022/05/18/frank-gehry-guggenheim-museum-bilbao-deconstructivism/#:~:text=Viewed%20from%20the%20river%2C%20the,scale%2C%20publicly%20funded%20cultural%20institution.
HISTORY OF THE OLD QUARTER. www.bilbaoturismo.net/BilbaoTurismo/en/historia.
Inside the Museum | Guggenheim Museum Bilbao. www.guggenheim-bilbao.eus/en/the-building/inside-the-museum.
Michael, Chris. “The Bilbao Effect: Is ‘starchitecture’ All It’s Cracked up to Be? A History of Cities in 50 Buildings, Day 27.” The Guardian, 23 Sept. 2020, www.theguardian.com/cities/2015/apr/30/bilbao-effect-gehry-guggenheim-history-cities-50-buildings.
The Editors of Encyclopaedia Britannica. “Frank Gehry | Biography, Architecture, Buildings, Guggenheim Museum Bilbao, Pritzker Pavilion, Style, and Facts.” Encyclopedia Britannica, 28 July 2023, www.britannica.com/biography/Frank-Gehry.