TOTOY
gggggggksjhfsadhofha sd9uaudadha skhjd iausdhashjkd ajsdkjad hjkasd asdhkasdhakdasdkj As a young architect Frank Lloyd Wright worked for Louis Sullivan (1856–1924) in his Chicago-based architecture firm. Sullivan is known for steel-frame constructions, considered some of the earliest skyscrapers. Sullivan’s famous axiom, “form follows function,” became the touchstone for many architects. This means that the purpose of a building should be the starting point for its design. Wright extended the teachings of his mentor by changing the phrase to “form and function are one.”
This principle is thoroughly visible in the plan for the Guggenheim Museum. According to Wright’s design, visitors would enter the building, take an elevator to the top and enjoy a continuous art-viewing experience while descending along the spiral ramp.
Wright’s design for the Guggenheim has sometimes been criticized for being inhospitable to the art it displays. However, over the past five decades Wright’s design has housed a wide variety of exhibitions, from traditional paintings to motorcycles to site-specific installations by contemporary artists. According to former Guggenheim Director Tom Krens, “great architecture has this capacity to adapt to changing functional uses without losing one bit of its dignity or one bit of its original intention. And I think that's the great thing about the building at the end of the day” (Frank Lloyd Wright: From Within Outward Audioguide [New York: Antenna Audio, Inc. and the Solomon R. Guggenheim Foundation, 2009]).
Up to the very end of his life, Wright carried on a battle to be sure that the Guggenheim embodied his belief in the unity of form and function. On July 15, 1958, less than a year before his death, he wrote a letter that underscored the connection between his design for the Guggenheim and the paintings it would exhibit. “Yes, it is hard…to understand a struggle for harmony and unity between the painting and the building. No, it is not to
This principle is thoroughly visible in the plan for the Guggenheim Museum. According to Wright’s design, visitors would enter the building, take an elevator to the top and enjoy a continuous art-viewing experience while descending along the spiral ramp.
Wright’s design for the Guggenheim has sometimes been criticized for being inhospitable to the art it displays. However, over the past five decades Wright’s design has housed a wide variety of exhibitions, from traditional paintings to motorcycles to site-specific installations by contemporary artists. According to former Guggenheim Director Tom Krens, “great architecture has this capacity to adapt to changing functional uses without losing one bit of its dignity or one bit of its original intention. And I think that's the great thing about the building at the end of the day” (Frank Lloyd Wright: From Within Outward Audioguide [New York: Antenna Audio, Inc. and the Solomon R. Guggenheim Foundation, 2009]).
Up to the very end of his life, Wright carried on a battle to be sure that the Guggenheim embodied his belief in the unity of form and function. On July 15, 1958, less than a year before his death, he wrote a letter that underscored the connection between his design for the Guggenheim and the paintings it would exhibit. “Yes, it is hard…to understand a struggle for harmony and unity between the painting and the building. No, it is not to