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The Techno-Morphism of Frank Gehry's Guggenheim Museum in Bilbao Spain Irene Nero

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The Techno-Morphism of Frank Gehry's Guggenheim Museum in Bilbao Spain Irene Nero Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2004 Computers, Cladding, and Curves: The Techno-Morphism of Frank Gehry's Guggenheim Museum in Bilbao Spain Irene Nero Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF VISUAL ARTS AND DANCE COMPUTERS, CLADDING, AND CURVES: THE TECHNO-MORPHISM OF FRANK GEHRY’S GUGGENHEIM MUSEUM IN BILBAO SPAIN By IRENE NERO A Dissertation submitted to the Department of Art History In partial fulfillment of the Requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2004 The members of the Committee approve the dissertation of Irene Nero defended on April 23, 2004. Lauren Weingarden Professor Directing Dissertation William Cloonan Outside Committee Member Cynthia Hahn Committee Member Robert Neuman Committee Member The Office of Graduate Studies has verified and approved the above named committee members. ii To Mrs. William Harold Blackmon, who is Alpha, and to Sophia Claire and Madeline Paige Berger, who are Omega iii ACKNOWLEDGEMENTS The journey to complete this dissertation has been long, but not without significant rewards along the way. Among my rewards is the support of my fine committee members, who I must thank for their continued patience and good humor. This project would have never been finished without the intelligent guidance of Dr. Lauren Weingarden, Dr. Robert Neuman, Dr. Cynthia Hahn, and Dr. William Cloonan. Always gracious, they shared their wisdom and vision with me. Moreover, I am immensely grateful for their intellectual generosity; it reassures me that I have chosen the finest profession in which to participate. In particular, Dr. Weingarden’s lively wit and joi de vivre helped sustain me throughout the writing process. Both Dr. Weingarden and Dr. Neuman helped me examine my appreciation for architectural history in a manner I had never imagined possible. They each made the exploration exciting, encouraging me to go further. I am grateful to Dr. Hahn for her wonderful lectures, keen insight, and many kindnesses over the years, and to Dr. Cloonan, in particular, for his kindness in allowing me to teach in Paris one glorious summer. No one could have a more talented or thoughtful committee than I. I would also like to thank Mr. Appleton who funded my scholarship at Florida State University and the Department of Art History for awarding me a Penelope Mason Research Grant to help write this dissertation. These two events were of enormous help to me as an aspiring scholar. A little closer to home, I have been fortunate enough to have wonderful family and friends to support me through the harder times and to celebrate the better ones. In alphabetical order I would like to recognize Keith Blackmon, Tiffany Blackmon and Scott Berger, Bridgett and Matthew Brown, Susan Esposito, Cathryn Green, Saundra Green, Lynda Katz, Bobbie and Stanford Melancon, Nicholas and Barbara Nero, George and Cathey Nero, Nancy Rivers, and Timothy Silva for their numerous contributions to my well-being over the years. There is simply no substitute for my wonderful family and amazing friends; without them, I would be lost. In particular, I must take a moment to iv thank my daughter Tiffany for being an encouraging factor, actively supporting my return to school, and for being such a fine role model as a student. Her tireless support, even while she was finishing her own dissertation and raising a family, is a commendation to her extremely disciplined mind and generous heart. Throughout the process, she listened with an academic mind and supported me with a daughter’s love. In concluding, I would like to thankfully remember my parents, step-father, and father-in- law, who I believe would be proud of this accomplishment. I close with one last statement, from an old Greek seaman’s proverb: “When the wind shifts, it’s the set of the sail, and not the boat, that keeps you on course.” v TABLE OF CONTENTS List of Figures ………………………………………………………………………….vii Abstract …………………………………………………………………………..xi 1. INTRODUCTION ………………………………………………………………………… 1 2. HISTORICISM ………………………………………………………………………… 11 3. THE END OF INDUSTRIALISM ……………………………………………………… 36 4. E-TECHNOLOGY AND THE NEW PARADIGM ……………………………………. 51 5. THE BILBAO EFFECT ………………………………………………………………… 67 6. CONCLUSION ………………………………………………………………………. 72 APPENDICES ……………………………………………………………………… 80 SELECTED BIBLIOGRAPHY ……………………………………………………. 145 BIOGRAPHICAL SKETCH …………………………………………………………….. 159 vi LIST OF FIGURES Figure 1. Frank Gehry, overview of river side façade, Guggenheim Museum, Bilbao, Spain, 1997. (Kleiner and Mamiya eds.,Gardner’s Art Through the Ages, 2003). …………………………………………………………………………………………… 95 Figure 2. Frank Gehry, aerial view Guggenheim Museum, Bilbao, Spain, 1997. (Trachtenberg and Hyman, Architecture From Prehistory to Postmodernity, New Jersey, 2002). …………………………………………………………………………………. 96 Figure 3. Frank Gehry, front façade, Guggenheim Museum, Bilbao, Spain, 1997. Author’s photograph. ...………………………………………………………….. 97 Figure 4. Frank Gehry, front façade, Guggenheim Museum, Bilbao, Spain, 1997. Author’s photograph. ……………………………………………………………. 98 Figure 5. Frank Gehry, atrium skylight from front façade, Guggenheim Museum, Bilbao, Spain, 1997. (Van Bruggen, Frank Gehry: Guggenheim Bilbao Museo, New York, 1997). ……………………………………………………………………………….. 99 Figure 6. Frank Gehry, railroad yard façade, Guggenheim Museum, Bilbao, Spain, 1997. Author’s photograph. ……………………………………………………… 100 Figure 7. Frank Gehry, front entrance, Guggenheim Museum, Bilbao, Spain, 1997. Author’s photograph. ..…………………………………………………………… 101 Figure 8. Nineteenth-and Twentieth-Century buildings facing the Guggenheim Museum, Bilbao Spain. Author’s photograph. ………………………………………….... 102 Figure 9. Frank Gehry, plan and section, Guggenheim Museum, Bilbao, Spain, 1997. (Sharp, Twentieth Century Architecture, Mulgrave, Australia, 2002). ………. 103 Figure 10. Frank Gehry, the tower, Guggenheim Museum, Bilbao, Spain, 1997. Author’s photograph. ………………………………………………………………………… 104 Figure 11. John Smirke, British Museum, London,1824-47. (Watkin, A History of Western Architecture, 2000). ……………………………………………………… 105 Figure 12. Frank Gehry, atrium vault, Guggenheim Museum, Bilbao, Spain, 1997. (Ragheb, ed., Frank Gehry, Architect, New York, 2001). ……………………… 106 Figure 13. Hermann Finsterlin, plaster model, c.1919. (Pehnt, Expressionist Architecture, London, 1979). ……………………………………………………… 107 vii Figure 14. Hans Poelzig, Entrance foyer of the Schauspielhaus, Berlin,1919. (Pehnt, Expressionist Architecture, London, 1979). …………………………………… 108 Figure 15. Antoni Gaudí, entrance arches of Güell Palace, Barcelona,1888. (Costantino, Gaudí, New Jersey, 1993). ………………………………………………………. 109 Figure 16. Alvar Aalto, molded glass vase, dating from c.1936. (Eidelberg, ed., Design 1935-1965: What Modern Was, New York, 1991). ……………………………… 110 Figure 17. Frank Gehry, atrium, Guggenheim Museum, Bilbao, Spain, 1997. (Friedman, Gehry Talks, 2002). ………………………………………………………………… 111 Figure 18. Antoni Gaudí, Colegio Teresiano, San Gervasio, Spain, Barcelona,1888. (Costantino, Gaudí. New Jersey, 1993). …………………………………………. 112 Figure 19. Frank Gehry, stone-clad piers with plaster capitals in the atrium, Guggenheim Museum, Bilbao, Spain, 1997. (Jodido, ed., Guggenheim Bilbao, Paris, 2000). ………………………………………………………………………………. 113 Figure 20. Richard Rogers, Lloyd’s Building, London,1978-1986. (Sharp, Twentieth Century Architecture, Mulgrave, Australia, 2002). ……………………………… 114 Figure 21. Sir Norman Foster, interior, Shanghai Bank, Hong Kong, 1979-1986. (Foster, Foster, New York, 2001). ………………………………………………… 115 Figure 22. Frank Gehry, outside deck, Guggenheim Museum, Bilbao, Spain, 1997. Author’s photograph. ………………………………………………………………... 116 Figure 23. Le Corbusier, Pavilion Suisse, Paris, 1930-31. (Curtis, Le Corbusier, London, 1986). ……………………………………………………………………….. 117 Figure 24. Le Corbusier, piloti with béton brut, Pavilion Suisse, Paris, 1930-31. (Curtis, Le Corbusier, London, 1986). ………………………………………………………. 118 Figure 25. Frank Gehry, entrance, Guggenheim Museum, Bilbao, Spain, 1997. Author’s photograph. …………………………………………………………………………… 119 Figure 26. Frank Gehry, entrance, Guggenheim Museum, Bilbao, Spain, 1997. Author’s photograph. …………………………………………………………………………… 120 Figure 27. Raymond Duchamp-Villon, model for Maison Cubiste, 1912, displayed at the Salon d’automne, (Blau and Troy, Architecture and Cubism, Cambridge, 1997). … 121 Figure 28. Josef Chochol, Villa, Prague, 1913. (Blau and Troy, Architecture and Cubism, Cambridge, 1997). ………………………………………………………. 122 viii Figure 29. Frank Gehry, The Architect’s House, Santa Monica, 1977-78. (Bletter and others, The Architecture of Frank Gehry, New York, 1986). …………………… 123 Figure 30. Frank Gehry, administration offices, Guggenheim Museum, Bilbao, Spain, 1997. Author’s photograph. ………………………………………………………... 124 Figure 31. Michael Graves, Portland Public Service Building, Portland, Oregon,1980-83. (Stokstad, Art History, 2002). ………………………………………………………. 125 Figure 32. Frank Gehry, American Center, Paris,1988, (today it is the Cinematic History Museum). (Friedman, Gehry Talks, 2002). ………………………………………. 126 Figure 33. Le Corbusier, Villa Savoye, Poissy, France,1929. (Trachtenberg and Hyman, Architecture From Prehistory to Postmodernity, New Jersey, 2002). … 127 Figure 34. Frank Gehry, Fish Sculpture, Vila Olimpica Project, Barcelona World’s Fair, 1992. (Van Bruggen,
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