7 minute read
Research & Response
Research
to what extent has frank gehry achieved aesthetic–functional balance within the guggenheim museum in bilbao, spain?
LOuiS BARtLett (2017)
my choice of topic for the EPQ was sparked by my interest in postmodern architecture, in particular the movement of Deconstructivism.
Frank Gehry’s work, characterised by his distinct and expressive style, led me to question his design process and to consider how an architect, whose work could be described as more artistic than practical, is able to design a building that balances both aesthetics and function. I decided to look at the Guggenheim due to its controversial history in terms of construction as well as its role as a home for one of the world’s most formidable art institutions. In order to tackle my overall research question, I broke the project down into three smaller questions. How is it possible to achieve aesthetic–functional balance? How does
Frank Gehry’s design process relate to the determination of aesthetics and function within his own architecture? How does the Guggenheim Museum in Bilbao exhibit the qualities of a building that has achieved aesthetic–functional balance?
The research for this project was undertaken through two different methods: a comprehensive literature review and an email questionnaire. The literature review formed the foundation of the research, investigating the theory surrounding aesthetic–functional balance and how it can be achieved through architectural means. The focus of the questionnaire was to gain honest responses from architects and experts within the field of study and was designed to be sufficiently broad to allow the recipient to expand on his or her views on the subject matter. One of the key research components of this project was an appreciation of the subjective nature of the topic. The questions emphasised issues surrounding the Guggenheim’s interior and exterior components, theory relating to aesthetic–functional balance as well as the relationship between form and function. A variety of experts were contacted at different universities including UCL, Bath, Harvard, and the Delft School of Technology.
My research began with laying the foundations of the theory surrounding aesthetic–functional balance, starting with aesthetic–functionalism. I found that the aesthetic value of a building is neither reducible to practical function nor completely independent of it. One has to reach a standpoint which combines theories of Reduction (function leads to aesthetics) and Independence (function is completely independent of aesthetics): the thesis of Aesthetic Duality. Aesthetic Duality states that objects can be appraised both under descriptions that refer to practical functions and under descriptions that only apply to aesthetics. The addition of a contributory thesis determines that the satisfaction of functional requirements in most cases contributes positively to aesthetic value. This theory developed further into the theory of Econo-functional Aesthetic Balance, which resolves issues pertaining to economic, aesthetic,
and functional factors within architectural design.
With the theory foundation of the research laid, I turned my attention to the Guggenheim museum itself and began to apply the theories to Gehry’s work. The idea of the “Seduction of Aesthetic”, where the primary building focus is put into the exterior appearance of the building, is seen throughout the Guggenheim. It is clear that the museum has a very expressive and abstract exterior aesthetic, which arguably outweighs the interior components of the building. Furthermore, in relation to the surrounding urban sprawl, the Guggenheim is not stylistically sensitive towards the traditional architecture of Bilbao. In fact, it is a deeply radical departure from Bilbao’s characteristic neo-classical heritage. One of my respondents described the Guggenheim as having made the ‘aesthetics a number one selling point, at the expense of long lasting (flexible) functionality, at the expense of sustainability values (energy for one), at the expense of the quality of the urban spaces and experiences surrounding the building’ (Professor Rients Dijkstra, 2016).
Despite the Guggenheim’s controversial construction, there have been many factors that contributed to its success and have given support to how the museum has achieved aesthetic functional balance. I had to consider the building in terms of its function as a contemporary art museum to justify why the building possesses such an expressive aesthetic and the impacts the architecture has had on the economic and cultural aspects of the city. Patrik Schumacher, director and senior designer of Zaha Hadid architects, stated that “prominent cultural buildings, especially contemporary art centres, are the perfect vehicles for stating general architectural positions” (Schumacher, 2010). He says that “discursive space” can be used to build and develop new architectural outlooks. Contemporary art centres such as the Guggenheim in Bilbao have shifted away from primarily providing educational services to the public towards a more progressive dynamic. We increasingly see art museums as open and participative places that allow the public to explore equally open-minded and experimental modern art.
Frank Gehry’s Guggenheim Museum has redefined the perception of contemporary art despite its initial controversy and Gehry‘s approach to design has resulted in a high degree of aesthetic–functional balance. As part of the Solomon R. Guggenheim institute, the Museum in Bilbao has become one of the most recognisable art centres globally. Despite many initially doubting the design of the Guggenheim due to its use of bizarre forms and radical floor space configurations, when looking in depth at the combinations of shapes within the building one begins to understand why it has become such a symbol of progressive and experimental architecture.
& Response
hAeSeunG ChOi (2007)
Architectural staff, hopkins Architects
Justifying aesthetic value over function has always been problematic due to the difficulties involved in quantifying aesthetic virtues. Louis’ study demonstrates a logical approach and progressive understanding of the dynamics that control the balance between aesthetic and function in architecture. Through his interrogation of ideas such as “Aesthetic Duality” he provides a platform from which to analyse this subjective topic. Ultimately, the study identifies that socio-political and economic motives are also involved in the determination of aesthetic–functional balance.
Frequently featured on the cover of contemporary architecture books, the Guggenheim Museum in Bilbao is widely acknowledged as one of the most significant pieces of architecture in recent years. Unlike its predecessor in New York whose iconic rings express the internal ramp, Bilbao’s Guggenheim external appearance does not reveal a clear functional purpose. Louis’ discussion on “the Seduction of Aesthetic” outlines the potential pitfalls of aesthetically driven design. Functional performance, adaptability and contextual sensitivity are rightly identified as important factors that must be considered alongside the application of aesthetic for long term utility.
In the case of Bilbao’s Guggenheim, the Museum is neither stylistically sympathetic to its surroundings nor designed to be particularly adaptable in function. The architecture is simply designed to be “interesting”. The entrance to the Museum begins with a swift descent past the underbelly of titanium scales arriving at the foot of a tall curvaceous valley. Subsequently, visitors are taken through a variety of exhibition spaces that consist of irregular caverns amongst intervals of familiar white painted boxes connected at high level by bridges above canyon-like walls. This motley of spatial experiences completes a journey that is unpredictable yet surprisingly systematic. Increasingly, art centres are filled with immersive installations and contemporary work, as Louis points out, that encourage participation. Consequently, the variety of spatial wonders appears to convey an appropriate reflection of the type of artwork it was designed to hold. Its form, by default, also serves to encourage exploratory behaviour following modern art’s increasingly immersive nature.
Through wide-ranging research this study presents a mature approach that clarifies the importance of finding balance between aesthetic and function in architecture. Louis’ piece successfully identifies the presence of economical, historical and socio-political factors involved in determining aesthetic–functional balance. Taking advantage of the Guggenheim’s aesthetic favouring design, Louis’ study shows strong categorical thinking that considers the implications of this imbalance through an investigation of a series of related theories. Named after the town of its success, the ‘Bilbao effect’ describes a phenomenon whereby a city’s economic revitalisation can be achieved through the construction of iconic architecture. However, the transformative qualities of a landmark architecture have met varying successes in other parts of the world. Thus, the essay takes an informative approach that carefully considers knowledge on what influences the success of aesthetic–functional balance. The culmination of the study’s findings returns to validate the Guggenheim’s aesthetic success. Its iconic status is used to support the notion that cultural buildings are ‘discursive spaces’ that facilitate experimental and progressive architecture. Incidentally, the first of many annual architecture trips I had at university took me to visit the Bilbao Guggenheim. My personal experience of the Museum allowed me to play Louis’ theories with my own memories, recreating new views of my recollection of the architecture. Having produced a comprehensive study from questionnaire responses and written research, the investigation could develop further by introducing some personal experience. Well written and argued Louis is clearly capable of carrying out research that results in continual rhetoric. Conclusively, this study encourages me to believe Louis has an innate understanding of the interdisciplinary aspects associated but not limited to the field of architecture.
