The Solomon R. Guggenheim Museum has announced a new research project exploring the “radical changes in the countryside, the vast nonurban areas of Earth” that will culminate in an exhibition at the museum’s Frank Lloyd Wright-designed New York home in Fall 2019.
Collaborating with Rem Koolhaas and his firm AMO, the think tank wing of OMA, the project will continue research already conducted by the Dutch architect and students from the Harvard Graduate School of Design.
In celebration of the 20th Anniversary of the Frank Gehry-designed Guggenheim Museum Bilbao, creative production studio 59 Productions has put on a 4-day projection mapping light show, transforming the museum’s iconic shimmering surfaces into a canvas for a dazzling light display.
From October 11-14th, the 20-minute-long multisensory production Reflections combined music, light and projection, creating a show on the building’s north-facing titanium facades that told the story of the museum’s genesis and design.
On October 15th four languages, three countries, and three astounding architectural projects will be brought together through a series of events and workshops to celebrate the 20th anniversary of the Guggenheim Museum Bilbao. The Solomon R. Guggenheim Foundation seeks to commemorate the event with a full day program of activities entitled Drawing the Guggenheim. Visitors can explore and sketch the museums during a variety of public drawing exercises, architectural tours, films and family events at each of the Guggenheim locations.
Created by paper engineer and artist Marc Hagan-Guirey, the book contains templates for creating 14 Wright-designed structures using the Japanese art of kirigami. The book leads you through the assembly of each model, which providing photographs, drawings and information for each building, including favorites like Fallingwater and the Solomon R. Guggenheim Museum in New York.
The 744-piece set features a new rendition of the building made from the classic plastic blocks, following a 208-piece interpretation released in 2009. The new set provides a much more realistic portrayal of the Wright's original building as well as the 10-story limestone tower added by Gwathmey Siegel & Associates Architects in 1992 (based on Wright's original sketches).
What is the place of the museum in the modern city? What role does architecture play? How can these buildings be effectively interpreted?
Frank Lloyd Wright’s design for the Guggenheim Museum in Manhattan broke with all existing conventions, setting a new standard for the postwar art museum and, together with the Museum of Modern Art, firmly establishing the city of New York as the cultural capital of the 20th century.
The Solomon R. Guggenheim Foundation is abandoning plans for a museum in the Finnish capital after a proposal for funding was rejected by the Helsinki City Council, 53-32.
“We are disappointed that the Helsinki City Council has decided not to allocate funds for the proposed Guggenheim Helsinki museum, in effect bringing this project to a close,” Richard Armstrong, the director of the Solomon R. Guggenheim Foundation, told the Helsinki Times.
This article originally appeared on guggenheim.org/blogs under the title "Nine Guggenheim Exhibitions Designed by Architects," and is used with permission.
Exhibition design is never straightforward, but that is especially true within the highly unconventional architecture of Frank Lloyd Wright’s Guggenheim Museum. Hanging a painting in a traditional “box” gallery can be literally straightforward, whereas every exhibition at the Guggenheim is the reinvention of one of the world’s most distinctive and iconic buildings. The building mandates site-specific exhibition design—partition walls, pedestals, vitrines, and benches are custom-fabricated for every show. At the same time, these qualities of the building present an opportunity for truly memorable, unique installations. Design happens simultaneously on a micro and macro scale—creating display solutions for individual works of art while producing an overall context and flow that engages the curatorial vision for the exhibition. This is why the museum’s stellar in-house exhibition designers all have an architecture background. They have developed intimate relationships with every angle and curve of the quarter-mile ramp and sloping walls.
The Solomon R. Guggenheim Museum, which opened in 1959, was controversial for being “less a museum than it is a monument to Frank Lloyd Wright.” Although Wright intended to display paintings on the curved interior walls of the central open space, the concave walls made it unworkable. Instead, the central atrium became a place for procession and the uncovering of space through movement. The continuous ramp overlooking the atrium allows people to interact from different levels.
Photographer Laurian Ghinitoiu places people at the core of his photography which perhaps explains how, in this photoset of the Guggenheim Museum to mark Wright's 149th birthday, he captured the essence and vitality of the Guggenheim Museum. While some images depict the museum’s atrium as a place for passing-by, wandering or socializing, others grasp the growing influence of photography and self-representation on visitors’ experience. Some shots also show the building in its urban context with people involved in daily life activities.
The Google Cultural Institute have teamed up with New York City's iconic Solomon R. Guggenheim Museum, designed by Frank Lloyd Wright and completed in 1959, to open its doors through Street View. Additionally, the Solomon R. Guggenheim Foundation has made over 120 artworks from its collection available for online viewing. "Using Street View technology, it will now be possible to tour the museum’s distinctive spiral ramps from anywhere online," the Foundation said.
In conjunction with Archtober and New York Archives Week, the Guggenheim will host its third Wikipedia edit-a-thon—or, #guggathon—to enhance articles related to women in architecture on Wikipedia, the world’s largest source of free knowledge.
Moreau Kusunoki, based in Paris, have been announced as the winners of the Guggenheim Helsinki competition following a year of shortlisting, refining and deliberation. Their proposal—entitled Art in the City—"sums up the qualities the jury admired in the design" noted Mark Wigley, chair of the jury. He continued: "the waterfront, park, and nearby urban area all have a dialogue with the loose cluster of pavilions, with people and activities flowing between them. The design is imbued with a sense of community and animation that matches the ambitions of the brief to honor both the people of Finland and the creation of a more responsive museum of the future."
The announcement was made this morning in Helsinki by Richard Armstrong, Director of the Solomon R. Guggenheim Museum and Foundation. Also present was Professor Mark Wigley, chair of the jury and Dean Emeritus of Columbia GSAPP, Jussi Pajunen, Mayor of Helsinki, Ari Lahti, chairman of the Guggenheim Helsinki Supporting Foundation, and the architect team.
The organisers behind The Next Helsinki, a competition masterminded by architect and critic Michael Sorkin, have announced that they have received over 200 international entries. Launched as an alternative to the controversial Guggenheim Helsinki project, the competition called upon architects, urbanists, artists, and environmentalists to imagine how Helsinki and the South Harbour site allotted to the proposed museum could be transformed for the maximum benefit of the city’s residents and visitors.
In an article for Metropolis Magazine, Zachary Edelson speaks to architect and critic Michael Sorkin about The Next Helsinki - a competition set up "to inquire as to whether this very valuable site in this wonderful city can’t somehow be leveraged beyond a franchise museum building." The esteemed jury, replete with distinguished artists and architects (many of whom are Finnish), is not just "a counter-competition" to the recent Guggenheim competition: "we’re trying to raise the question of whether a big foreign institution is the most logical way to prompt the arts to flourish at the community level." Read Sorkin's comments about the Finns' attitude to their city and his thoughts on the shortlist of the recent Guggenheim competition in full here.
Aside from attracting a huge level of media interest, the record-breaking competition to design the Guggenheim Museum's planned outpost in Helsinki also generated a significant level of criticism - not least from Michael Sorkin and his collaborators, who launched a counter-competition seeking alternative suggestions for how the site could be used. In this article, originally published on Metropolis Magazine as "'We Mean to Be Provocateurs': Michael Sorkin on the Next Helsinki Competition," Zachary Edelson interviews Sorkin on his reaction to the Guggenheim's shortlist, his hopes for his own competition, and the critical role that museums play in the worlds of both art and architecture.
The reverberations of the Bilbao Effect, where a prize museum infuses a region with prosperity and global cache, have concentrated on an unlikely city: the Finnish capital of Helsinki.
The Solomon R. Guggenheim Foundation is famous for its Fifth Avenue museum, but its 1997 Frank Gehry-designed Bilbao outpost famously catapulted its small Basque host city to new levels of international renown. The city’s tourism revenue quickly helped recoup the museum’s extensive costs: $100 million for design and construction, subsidies towards a $12 million annual budget, $50 million for an acquisitions fund, and $20 million to the Guggenheim for its name, curatorial services, and the use of parts of its collection. Within three years, visitors’ spending had garnered $110 million and by 2013 more than 1 million had entered the gleaming metallic structure. Many have tried to replicate Bilbao’s success but opposition against such massive expenditures always looms. In this case, it has manifested in a rival competition led by New York-based architect and writer Michael Sorkin and titled The Next Helsinki.