Group SketchUp Model - Vitra Design Museum
Gehry uses a deconstructivist style for the museum building, limiting materials to white plaster and a titanium-zinc alloy. He allows curved forms to break the usual angular shapes. The building is seen as “... a continuous changing swirl of white forms on the exterior, each seemingly without apparent relationship to the other, with its interiors a dynamically powerful interplay, in turn directly expressive of the exterior convolutions. As a totality it resolves itself into an entwined coherent display...”[1]. Gehry takes ordinary elements: stairs, ramps, a lift tower, a corner window; pulls them apart and reassembles them to challenge our notions of what a building should be.
The Vitra Design Museum opened in 1989. It is a small 8000 square foot building on two floors primarily for the exhibition of chairs, design, and educational programs. Vitra, the furniture company, commissioned a variety of major architects including Alvaro Siza, Nicholas Grimshaw, Tadao Ando and Zaha Hadid to make up their manufacturing site is in Germany, next to Basel in Switzerland.
Interior: Vitra Design Museum
Interior: Vitra Design Museum
Rolf Fellbaum to wanted to create the Vitra Design Museum to document the roots and history of his craft of furniture production. He found that the history of industrialised produced furniture could provide a big insight into the direction of furniture production in the years to come. Rolf Fehlbaum commissioned Frank Gehry to design a museum that captured this idea.
Gehry's building makes a suitable host for these designs, keeping with the theme, supporting, not competing with, the exhibitions, and designed to be accessible to the general public. The geometry of the building is spontaneous and fluid, and not particularly noticeable, as you go around the exhibitions. The building is at home among the other architectural showpieces that make up the Vitra site.
References
http://www.greatbuildings.com/buildings/Vitra_Design_Museum.html
http://www.galinsky.com/buildings/vitradesign/index.htm
[1] Paul Heyer. American Architecture: Ideas and Ideologies in the Late Twentieth Century. p. 233-234.
The Guggenheim at Bilbao followed Frank Lloyd Wright’s circular monument at the Guggenheim New York, another shapely surprise. Computers and technology Gehry said allowed him to experiment with complex shapes that would define the museum, inside and out, “I used to follow grids and then i started to think and i realised those were chains, and there was no freedom”.
He designed a tall central hall rising over 150 feet from floor to ceiling that lets visitors look up to the complex roof. Light pours in everywhere from strategically placed windows and the skylights on the roof, providing a welcome air of buoyancy. Every turn holds a new view,, a different assortment of curves, of weigh bearing, slightly twisted pillars, curved internal bridges, enticing balconies.
Gehry designed two sets of three rectangular galleries devoted to the permanent exhibition of modern paintings as this seemed most appropriate housing for them, and eleven galleries designed for temporary exhibitions, each distinct from one another.
The building externally looks like a big puzzle enticing art lovers to proceed and look, a group of richly curved buildings “crossing the line between architecture and sculpture”. The museum backs on to the Nervion River, visible from many windows with hills as a backdrop. The front faces a town, a local museum, and a university.
Gay, Peter, 1923 on. 2008
Hillings, Valerie L. 2007
3. www.guggenheim.org/bilbao
4. en.wikipedia.org/wiki/Guggenheim_Museum_Bilbao
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