Guggenheim bilbao museum carla thomson

Guggenheim Museum Bilbao

Building Systems BUIL1005 Lecturer: Guillermo Aranda-Mena Student: Carla Thomson Student number: S3395740

CONTENTS Introduction

3

Site Analysis

4

Stakeholders

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Front of House: Architecture Description

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Sections Back of House: Structure and Materials

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Foundations

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Structure

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Faรงade

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Interior

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Lighting

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Curtain Wall

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Maintenance Systems

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Plans

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Innovations

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Fit for Purpose

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References

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INTRODUCTION The Guggenheim Museum in Bilbao, Spain was developed by the Basque Government Authority in collaboration with the Solomon R. Guggenheim foundation, and was officially opened in October 1997.

The museum signified the initial stage of Bilbao’s urban revitalisation project which attempted to incorporate strategic planning into the process of economic regeneration; specifically in an area located on the River Nerviόn known as Abandoibarra. The site had previously been predominated by shipbuilding and steel construction industries until significant international economic decline in the late 1980’s and early 1990’s resulted in the advent of post-industrialisation.

The de-industrialisation process resulted in social and economic decline alongside considerable destruction of the physical and natural environment of the metropolitan area. Industrial decline rendered the Abandoibarra area relatively obsolete, transforming a significant area of the riverside into an abandoned area of degeneration. Restricted by vehicle and rail corridors, the site’s potential as a connection to the metropolitan area was unexploited.

An ambitious urban revitalisation scheme was proposed to redevelop Bilbao, and particularly the Abondoibarra area, into a premier tourist destination incorporating a leading museum of modern art. The aim was to redevelop the city towards a post industrialised, knowledge and tourism based economy. In collaboration with the Solomon R. Guggenheim Foundation; an organisation dedicated to the collection and promotion of modern art; the Basque Government Authority developed a plan to build an internationally distinctive building which redefined Bilbao into an emerging cultural centre while still preserving and promoting Basque culture and identity. The agreement was that the project was funded in its entirety by the Basque Government, at a total cost of approximately 144 million euros, while the responsibility of the museum program and art collection remained with the Guggenheim Foundation.

Frank O. Gehry was selected as the architect to design the museum and was commissioned to create a structure that would provide for the unique combination of international appeal alongside distinct cultural sensitivity. The final design managed to address the site issues, including integration of the large Puente de la Salve Bridge while providing the architectural zeitgeist necessary to attract a significant international audience.

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SITE ANALYSIS Located in the Basque country, Bilbao is the largest city on the northern coast of Spain, covering a total area of 40.65 square kilometres. Topography of the area, including a significant mountain range, defines the city boundaries, which is concentrated along the River Nerviόn.

The subject site is adjacent to Bilbao’s central business district in an area known as Abandoibarra.

Formerly occupied by industrial, shipbuilding and steel production infrastructure the site had previously created a physical barrier between the River Nerviόn and the metropolitan centre.

The 32,500 square metre Guggenheim Museum site is located at the north east end of the Abondoibarra area, at the edge of the River Nerviόn, and is intersected to the east by the main vehicular Puente de la Salve Bridge. Considered to be at the centre of a ‘cultural triangle’ formed by the old Museum of Fine Arts, the University and Old Town hall, a public square and recently developed promenade situated on the site encourages pedestrian flow between these locations. The Puente de la Salve Bridge connects the urban centre with outlying areas and is therefore considered to a major arterial of the city.

Previous industrial activities along the River Nerviόn, including dredging and the dumping of toxic waste until the late 1980’s severely impacted water quality; causing anoxia which almost entirely eliminated flora and fauna.

However recent regeneration and protection of the area has significantly improved the natural environment and water quality. Soil quality of the area was considerably contaminated due to former industrial uses.

Relocation of the industrial port provided the opportunity to redevelop the Adandoibarra area, reconnecting the River Nerviόn to the city centre. Regeneration of this area provided a framework for the area as a cultural and tourist destination predominated by open park Page 4

and green spaces while also including development of mixed use commercial and public buildings. The resulting Avenue de Abandoibarra, a large tree-lined pedestrian promenade, incorporates an area of 345,000 square metres from the Guggenheim Museum to the Euskalduna Conference Centre. Completed with approximately 115,000 square metres of green space the riverside area includes a light rail connection, children’s playground, fountain, large streetlights and ample seating. The construction of the Deusto pedestrian bridge crossing the River Nerviόn encourages further pedestrian access to the area from surrounding districts.

High traffic flow across the Puente de la Salve Bridge produces significant noise levels around the Guggenheim Museum and a considerable amount of exhaust pollution, however this affect is significantly counteracted by the natural environment of the Avenue be Adandoibarra development.

Proximity to the coast and the topography of the area provides Bilbao with an oceanic climate, with precipitation occurring throughout the year. Average maximum and minimum temperatures are approximately 20°C and 9°C respectively.

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STAKEHOLDERS The Guggenheim Bilbao is the result of close collaboration between the Basque Government Authority, which financed the project at its owner, and the Solomon R. Guggenheim Foundation which manages the modern art collection and museum programs.

The Solomon R. Guggenheim Foundation aims to promote the understanding and appreciation of art, architecture and other manifestations of modern and contemporary visual culture while collecting, preserving and researching art collections, making them accessible to an increasingly diverse audience through a network of museums, programs, educational initiatives and publications. Throughout its history the foundation has owned and operated several museums in various countries while accumulating one of the world’s foremost collections of modern and contemporary art. Currently the foundation owns three museums in New York, Venice and Las Vegas while providing cultural direction and management services to the Guggenheim Museum Bilbao and Deutshe Guggenheim Berlin, with which it shares collections and programs.

Frank O. Gehry (1929 - ) is a Canadian American architect who is internationally recognised for his unique, sculptural and innovative design concepts. Gehry studied architecture at the University of Southern California as well as city planning at Harvard University prior to establishing his own architecture company, Frank O. Gehry & Associates in 1962; since succeeded by Gehry Partners in 2001.

Predominantly recognised for free form deconstructed or ‘post structuralist’ designs, Gehry was awarded with the Pritzker Architecture Prize in 1989. Influential Gehry designs include, but are not limited to, the Walt Disney Concert Hall (Los Angeles, California), Gehry Tower (Hanover, Germany) and the Dancing House (Prague, Czech Republic).

IDOM, founded in 1957, provides professional, independent architectural and engineering services which have resulted in their involvement in a range of significant international building projects often defined by their architectural innovation.

Clients/Developer Basque Government Authority Solomon R Guggenheim Foundation Architect Frank O. Gehry & Associates Executive Architects and Engineers IDOM Architectural consultant Carlos Iturriaga Structural Engineers Skidmore, Owings & Merril Mechanical Engineers Cosentini Associates Acoustics and Audiovision McKay, Conant, Brook, Inc Lighting Design Lam Partners

Theatre Technology Peter George Associates Curtain Wall Peter Muller Inc Lifts Hesselberg Keese & Associates Security Roberto Bergamo E.A Foundations Cimentaciones Abando Steel and cement Ferrovial/Lauki/Urssa Exterior Construcciones y Promociones Balzona Interior, construction systems and building work Ferrovial Page 6

FRONT OF HOUSE: ARCHITECTURE DESCRIPTION The Guggenheim museum is an unconventional curvilinear structure distributed on the site in several interconnected amorphous buildings which appear to have been organised arbitrarily. The façade utilises a combination of titanium and limestone, both of which relate to Bilbao’s industrial history. The total area of the museum is 28,000 square metres, 11,000 square metres of which is dedicated to the exhibition of modern art collections, with the remainder distributed between a public space, library, auditorium, offices and retail/dining areas.

Also included on the 32,700 square metre site are two shallow water gardens which are positioned as to effectively merge with the adjacent River Nerviόn as well as a selection of large art installations.

Reflective of Bilbao’s involvement in the shipping industry, a large curvilinear steel tower incorporated into the design manages to effectively incorporate the Puente de la Salve Bridge which intersects the site.

Entrance to the museum is via wide descending limestone steps into a substantial central atrium; from where a system of curvilinear bridges, glazed lifts and various stairways provide access to the three floors of exhibition galleries. The atrium, which is 50 metres high, includes a glass curtain wall and culminates with a large sculptural glass ceiling, both of which serve to provide sufficient natural light to the interior.

The Solomon R. Guggenheim had specified the requirement for three distinct exhibition spaces within the museum; a permanent collection, temporary collection and a living artist’s collection. The permanent collection occupies traditional square spaces located on the second and third levels while the temporary collection is contained within a large ground floor space 140 metres wide and 25 metres wide which extends below the adjacent Puente de la Salve Bridge. This gallery was designed without interior columns to allow for major art installations. Finally 11 distinct galleries throughout the building, each spatially unique, are provided for the exhibitions by living artists. The galleries provide suitable exhibition spaces, each with a ceiling height of at least 6 metres and all without vertical supports.

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The Guggenheim’s major public facilities including 400 seat auditorium, library, restaurant and shops are located around the public plaza and are accessible independently from the museum. The riverside promenade included on the site as part of the Avenue de Abandoibarra redevelopment as well as the public plaza allow for, and encourage, pedestrian flow between the Guggenheim, the Museum of Fine Arts, Deutso University, Euskalduna Conference Centre and the metropolitan centre.

The exterior titanium panels have a high degree of reflectivity resulting in dynamic colour transitions from silver to soft gold and are considered to effectively represent the steel production history of the area. The practical interior layout provides functional spaces for the effective display of collections of varying size.

Site: 32,700 sqm Building: 28,000 sqm Galleries: 10,560 sqm Public Space: 2,500 sqm Library: 200 sqm Auditorium: 605 sqm Offices: 1,200 sqm Shops: 375 sqm Restaurant: 460 sqm CafĂŠ: 150 sqm

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SECTIONS

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BACK OF HOUSE: STRUCTURE AND MATERIALS The conceptual design process from a structural engineering perspective was unique in that the building was at the time without precedence in regard to geometry, organisation and scale. While most structures are an extension or derivative of preceding developments the Guggenheim Museum Bilbao was constructed without the benefit of a comparable benchmark project. Furthermore the architectural theme of fractured, free form and irregular structures were juxtaposed to the standard engineering precepts of stability, organisation and regularity required to achieve efficient and cost effective design. Design and construction was required to develop a structural system capable of creating the double curved exterior while maintaining interior spaces characterised by tall ceilings without internal structure and long column free distances spanning between discrete, randomly located support joints.

FOUNDATION Innovative foundation design was required due to the proximity of the River Nerviόn to the museum site.

The area had previously experienced flooding so ‘water anchors’ of various sizes were integrated into the foundations to counteract buoyancy. A total of 664 cables were anchored within concrete pylons into the bedrock 14 metres below the surface. Poor soil quality of the River Nerviόn, including high proportions of accumulated industrial waste, required that the overall weight of the museum structure also be reduced.

Resulting design included the construction of a super light floor slab structure incorporating light weight aggregate concrete and zincated steel corrugated plate connected to a concrete slab 60 to 80 millimetres thick.

STRUCTURE Traditionally free form structures had been framed in reinforced concrete, however the scale of the Guggenheim Museum project required a lighter structural system. The concept of a discrete bearing wall system in structural steel was developed based on an organisation of relatively dense, diagonal grid work of members. This system had the ability to span long column distances while providing for a lighter frame structure necessary for the site soil conditions; while maintaining significant ability to support lateral loads due to the curvature of the various geometries.

The steel structure comprises three layers of steel, each of which serves a different function. The primary structure was erected in modular 3 metre square sections within a minimum of wide flange shoring. The surface complexity of the overall form was achieved via the secondary structure and sheathing formed of horizontal galvanised steel tubing, 60mm in diameter, which was connected to the primary structure with a universal joint, allowing for fine adjustments to be made. The tertiary structure established the vertical curvature with C-shaped studs curved in at least one direction which allowed torsion to occur to a maximum angle of 4 degrees, thereby maintaining the perpendicularity of the façade materials. Every element in the secondary and tertiary structure allow for smooth skin curvatures as well as thermal expansion.

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A 2mm galvanised steel cladding was bolted to the tertiary layer which was covered internally with thermal insulation and externally with asphalt based Bituthene membrane. Finally the 3mm titanium tiles were bolted to the steel using stainless steel anchors and steel nails welded by thermal conductivity. No expansion joints were necessary as the structure performs as an integrated element.

FAÇADE The predominant materials for the exterior of the structure are Spanish limestone and titanium panels, utilised for the regular rectangular forms and sculptural curves, respectively. A total of 33,000 titanium panels 0.3mm thick created by a special lamination process were necessary to cover the exterior. A multi clamp configuration developed to attach to each side of the titanium panels was developed to withstand winds of 200 kilometres an hour.

Another key material was the Spanish limestone revetment utilised for both interior and exterior surfaces.

The design specifications were for a beige limestone that could be mechanically manipulated and withstand the local humid climate. On site each stone piece was reshaped and hand selected for its colour relative to surrounding panels. As there was no support system commercially available that could support the weight, size and pressure resistance requirements of the panels, unique clips were designed, produced, tested and manufactured for installation. As a final precaution each limestone panel was also secured to the structure by a steel cable.

A 26 metre tall steel canopy overlooking the adjacent River Nervi὚n is supported by a single slender, cantilevered vertical 2 metre diameter steel pipe pylon with a 40mm thickness. The structure includes four cantilevered trusses tapering from four metres deep at the pylon to a minimum at the tip.

INTERIOR The interior includes a combination of plaster, drywall, limestone and glass. Gallery spaces were faced with two centimetre thick plywood to allow art to be firmly mounted. In certain areas the drywall is only one centimetre in depth to allow it to adapt to the tight design curvature.

LIGHTING The artworks within the museum must be carefully illuminated, a requirement which preceded a study into the light available in each exhibition space. Natural light was designed to avoid directly influencing objects while still creating a warm continuous atmosphere. There is a pre-set lighting control system to precisely and reliably enhance the museum structure and artwork collections while protecting them from potentially harmful ultraviolet rays. A flexible lighting system maximises the effect of changing exhibitions which includes 2000 circuits, 1375 power boxes and over 80 dimming panels which are controlled by three processors. Most of the interior lamps are halogens which have the ability to not alter the true colours of the artwork. Lighting in each gallery can be controlled individually at wall stations which are linked to a central computer. The system is programmable to reduce lighting to 60 per cent while galleries are not in use.

CURTAIN WALL Another challenge in the construction was the extremely complicated geometry of the glass curtain wall which contained 2,200 glass panels, 2000 of which were uniquely shaped. An array of triangular panes created the effect of a curvature without the additional expense and complexity of curved glass. The glass chosen for the museum does not colour incoming light but protects against ultraviolet light and radiation.

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MECHANICAL SYSTEMS A central mechanical plant produces chilled and heated water throughout the building which contributes to temperature control. The museum basement contains the mechanical plant pumps, heat exchanger and fire protection equipment. Cooling towers are remotely located and are fully screened with architectural walls and grills.

Careful environmental control and aesthetics determined the heating and ventilation air-conditioning systems for the museum galleries. An individual, fully screened air handling room serves each gallery with ventilation systems that provide even, low velocity air distribution with minimal impact to the interior. Air supply is distributed through ducts in the floor and is circulated though the wall cavities to allow for the control of temperature and humidity levels on interior wall surfaces where artwork is displayed. Internal air purification is achieved through the use of chemical filtration, which eliminates toxic and detrimental gases from the atmosphere. Special equipment for ventilation and hazardous chemical storage is provided for workshop, photography and conservation labs. Outlets for air supply and return are carefully concealed within the interior design of each space.

The quantity of materials used in the project included 25,221 square metres of titanium, 34,343 cubic metres of limestone and 6,164 square metres of glass.

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PLANS

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INNOVATION Frank O. Gehry & Associates utilised the specialist computer software Computer Assisted Three Dimensional Interactive Application (CATIA), originally developed for the aerospace industry, to design and refine the construction of the Guggenheim Museum Bilbao. CATIA, which had not previously been utilised in the engineering of large structures, afforded Gehry the ability to realise design complexity that would have otherwise have been inconceivable; translating the mathematically complicated industrial forms of the museum into constructible fabrication data with structural integrity. Three dimensional models generated by CATIA allows for the conventionally separate phases of design, transcription and construction of geometrically complex structures to be achieved without significant architectural or financial error.

Gehry initially sketched designs and created cardboard models of the structure which were refined and then scanned into CATIA; resulting in a consistent three dimensional wire net of control points that could be verified with respect to the physical models. CATIA was used to smooth and rationalise the colliding angular forms and various curved features of the structure as well as to create offset surfaces locating the possible structural envelope. With the offset surfaces defined by CATIA providing potential locations for structural members, Frank O. Gehry & Associates were able to develop nodal points and lines which identified the structural centrelines.

Consistent with the unique nature of the project, the structural engineering documentation was organised with the intent of data manipulation by all members of the design and construction teams. The definition of geometry was based on a project (x,y,z) coordinate system with each nodal point coordinate specified on the drawings as referenced by inclined column mark versus elevation. The material advancement which accompanied the software was titanium.

Originally either stainless steel or lead copper were to be used in the construction of the museum, however lead copper was outlawed as a toxic material and Gehry did not approve of the flat appearance given by the stainless steel option. Although research indicated that titanium had only rarely been used as an exterior construction material Gehry was impressed its characteristics and commissioned several tests to ensure its suitability.

Titanium, a silvery grey metal, is a low density, extremely strong corrosion resistant material that can be curved, providing a lighter, more manoeuvrable alternative to steel without the sacrifice of strength. The raw titanium was chemically treated and laminated and then cut into the specific panels used Computer Numerically Controlled (CNC) machines. The titanium panels arrived at site flat and were bent to fit the curved structures of the building. Only four standard sizes were needed for 80 per cent of the titanium faรงade; however the remaining 20 per cent required the development of 16 different panels.

Innovations of the Guggenheim Museum including the use of structural steel, titanium as an exterior construction material alongside extensive reliance on modern computer design software were integral in realising the project on time and within budget. Other innovations including the manufacturing of limestone panel supports and specially adapted Computer Numerically Controlled machines were also essential to the completion of the museum.

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FIT FOR PURPOSE The Guggenheim Museum Bilbao is a testament to the capacity of architecture to not only redevelop the urban landscape, but to instigate economic and cultural revitalisation. Remarkably the museum attracted 1.3 million visitors in its first year of opening and continues to appeal to a large number of international tourists each year. The museum has been markedly successful in contributing to the urban revitalisation of the Bilbao metropolitan area.

The building is sufficiently accommodating and flexible to contain large scale contemporary art and provides ample public space. The large and varied spaces within the museum were intentionally designed to accommodate various events.

The success of the museum initiated further urban revitalisation projects by the Basque Government Authority in Bilbao, including the modernisation of transport links, strengthening of cultural and commercial amenities as well as other general improvements to the urban environment. Sir Norman Forster designed the city’s new subway system, the Bilbao Metro, Cesar Pelli was commissioned to design the Abandoibarra promenade development and Santiago Caltrava designed a new pedestrian bridge and airport for the city. These developments have further developed Bilbao’s tourism and have become a major income source for the city.

The Guggenheim Museum Bilbao was integral to the urban revitalisation the metropolitan area following a period of de-industrialisation which resulted in significant infrastructural and economic decline in the area.

Collaboration between the Basque Government Authority and the Solomon R. Guggenheim Foundation culminated in the design of the building by post-modern architect Frank O. Gehry. The ongoing agreement between these major stakeholders will ensure the Guggenheim Museum Bilbao remains as a major contemporary art museum integral to the metropolitan and international landscape for many decades to come.

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REFERENCES Cuito, A, Pons, E, Guggenheim, Barcelona, Loft Publishing, 2001 Kerexeta, G. & Ibarzabal H. (2003) Reflections on Urban Revitalization Strategies in Old Industrial Regions: the Case of Bilbao. Paper presented at the European Association for Evolutionary Political Economy 2003 Annual Conference Poulakidas, G, The Guggenheim Museum Bilbao: Transforming a City, New York, Children’s Press, 2004 Solomon R. Guggenheim Foundation, www.guggenheim.org van Bruggen, C, Frank O Gehry: Guggenheim Museum Bilbao, New York, Guggenheim Foundation, 1997 Vicario, L & Monte, P, ‘Another Guggenheim Effect? The Generation of a Potentially Gentrifiable Neighbourhood in Bilbao’, Urban Studies, Vol 40, 2003 Western, R, Key Buildings of the 20th Century: plans, sections and elevations, London, Laurence King Publishing, 2010

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