{"id":47956,"date":"2014-06-08T15:01:24","date_gmt":"2014-06-08T13:01:24","guid":{"rendered":"https:\/\/www.area-arch.it\/en\/bilbao-planningopportunity-guggenheim-museum\/"},"modified":"2017-10-25T16:19:20","modified_gmt":"2017-10-25T14:19:20","slug":"bilbao-planningopportunity-guggenheim-museum","status":"publish","type":"post","link":"https:\/\/www.area-arch.it\/en\/bilbao-planningopportunity-guggenheim-museum\/","title":{"rendered":"Bilbao planning\/opportunity – Guggenheim Museum"},"content":{"rendered":"

Bilbao can witness a strategic resort to certain prestigious names of international architecture: the city subway planned by Norman Foster, the airport by Santiago Calatrava presently under construction, the new general town plan entrusted to Cesar Pelli, even if everything is undoubtedly eclipsed, at least for the moment, by the Guggenheim, in a certain sense authentic Stadtkrone of the city, erected with the objective of introjecting the need for representation of the Basque citizens. And presently this intricate \u201csteel octopus\u201d (I. Fernandez Galiano) is certainly immediately associated with the name of Bilbao, thus rapidly becoming the emblem not only of this Northern Spanish capital but also of the career of its author, Frank Gehry. The Guggenheim in Bilbao represents a confirmation of this quotation, a great intertwining of volumes that projects from the banks of the Nervion river as an impressive sculpture, a show staged with great skill. One perceives the architect\u2019s intention to involve the public in a context that is new to it, creating an artistic architecture that speaks directly to the sentiments and emotions of the spectator, thus inevitably turning the visitor into someone playing a role during his personal exploration of the building. The decomposition of the volumes enables the author to resort to an organization by independent pavilions \u2013 a habitual design practice of his \u2013 which in this case nevertheless escapes elementary formalizations through complex articulations created with the help of computers. In any case a compositive \u201cheart\u201d can be abstracted in this spatial continuum: the atrium with its tall columns containing the systems of vertical circulation. For that matter, Gehry has himself been explicit as to the absence of disciplinary frontiers between art and architecture. \u201cMany architects see me as an artist; they do so to marginalize me. I have never understood how this line of separation can be drawn\u201d. And in fact, the lasting qualities of his architecture seems guaranteed \u2013 as Rafael Moneo reminds \u2013 rather than the virtuality of the building, by the value which we can attribute it as a \u201ctotal work of art\u201d.<\/p>\n