It is a three-dimensional curve that lies on a cone, designed so that its angle to a plane perpendicular to the axis is constant. It contains almost no right angles, no straight lines and curves abound. It was revolutionary compared to steel, class, and symmetry of modernism and compared to historical museums such as the original Louvre. It challenges the visitor the same way the non-representative art in the collection inside challenges the viewer. The art and the architecture are symbiotic. The Guggenheim Bilbao designed by Frank Gehry almost forty years later extends this theme even further. It invokes the designs of Spanish architect Antonio Gaudi and does not even possess the mathematical organizing principle of a helix. It is a collection of seemingly random curves that, again, defy traditional architecture and are sheathed in titanium, a new building material. It challenges the visitor before they have even entered the building. The architecture clearly states that this is an art museum, and compliments the collection: “Assembled over the past decade, the Guggenheim Bilbao’s collection of art spans from the mid-twentieth century to the present day. Concentrated on post-war painting and sculpture in America and Europe.” (Guggenheim Bilbao). Architecture: Art and Modern Buildings.
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