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FRANK LLOYD WRIGHT, GUGGENHEIM MUSEUM, NEW YORK 1959
FRANK LLOYD WRIGHT, GUGGENHEIM MUSEUM, NEW YORK 1959
“DISPLAYED SPIRAL”
F.L.WRIGHT, NEW YORK: “TARUGGIZ”
GWATHMEY, SIEGEL: “GUGGENHEIM ADDITION”, 1992
F.L.WRIGHT, NEW YORK: “V AND 89TH”
F.L.WRIGHT, NEW YORK: “V AND 89TH”
F.L.WRIGHT, NEW YORK:: “V AND 88TH”
“WRIGHT AND GWATHMEY- SIEGEL TOGETHER”
F.L.WRIGHT, NEW YORK: “CLOSE TO THE PARK”
F.L. WRIGHT, NEW YORK: “STREET EVOLUTION”
F.L.WRIGHT, NEW YORK: “MAIN ENTRANCE”
F.L.WRIGHT, NEW YORK:: “SITTING IN THE CORNER”
"Wright's inverted ziggurat (playfully called taruggiz) a cast-concrete, expanding helicoidally ramp, which at each turn of the spiral would theoretically acquire its resistance from the upstand stiffness of the spiral itself."" K. Frampton, 1994
"Here we are not building a cellular composition of compartments, but one where all is one great space on a single continuous floor... Let walls, ceiling, floors become seen as a component parts of each other." F.L. Wright, 1936
"By organic architecture I mean an architecture that develops from and outward in harmony with the conditions of its being as distinguished from one that is applied from without." F.L. Wright, 1946
"La rampa elicoidale del Guggenheim emblematizza il divenire, il continuum, l'architettura di percorso (...) fruizione comunitaria dell'arte liberata dall'estraneitŕ sacrale del museo, scesa in strada." B. Zevi, 1975
F.L.WRIGHT, NEW YORK: “WALKING ALONGSIDE ART”
F.L.WRIGHT, NEW YORK: “TIME AFTER TIME”
WRIGHT NEW YORK: “MOVING UP”
SECTION
F.L.WRIGHT, NEW YORK: “AT THE BEGINNING, WATER”
F.L.WRIGHT, NEW YORK: “EVOLVING RAMPS”
GROUND FLOOR
FRANK O. GEHRY : “THE ART OF THE MOTORCICLE” 1998 (MIRROR SHOW)
FRANK O. GEHRY : “THE ART OF THE MOTORCICLE” 1998 (MIRROR ANAMORPHOSIS)
FRANK O. GEHRY : “THE ART OF THE MOTORCICLE” 1998 (POOL TRANSLATED)
"The atmosphere of great harmonious simplicity wherein human proportions are maintained in relation to the picture is characteristic of the building." F.L. Wright, 1946
"Here for the first time architecture appears plastic, one floor following into the other instead of the usual superimposition of stratified layers cutting." F.L. Wright, 1932
"Wright explained that he felt the museum-goer would find it far more convenient to take an elevator to the top ramp, gradually descend around an open court (…) pictures placed against the walls slightly tilted backward would be seen in better perspective and be better lighted if set bolt upright." B. Pfeiffer, 1991
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