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<p style="text-align: center;"><a href="http://jeanatacc.com/2011/wp-content/uploads/2013/11/guggenheim03_t.jpg">                   </a><a href="http://jeanatacc.com/2011/wp-content/uploads/2013/11/guggenheim03_t.jpg"><img class="size-full wp-image-3673" alt="guggenheim03_t" src="http://jeanatacc.com/2011/wp-content/uploads/2013/11/guggenheim03_t.jpg" width="436" height="277" /></a></p>
<p align="center">(The Solomon R. Guggenheim Museum in 1959. Source: <a href="http://www.bc.edu">www.bc.edu</a>)</p>
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The discipline of Art in the beginning of the twentieth century underwent major changes from its traditionalistic origins. A new concept called Non-objective Art had contemporary artists create their works with an emphasis of abstraction and design. Russian artists Kandinsky and Malevich along with Dutch artist Mondrian created this genre of art, and influenced groups of other Modernists who viewed their work in terms of harmony and order. Inspired by Futurism and Malevich’s teachings, Constructivists started importing the abstractions of Non-objective Art to music, dance, and architecture. Architecture, in particular, had its abnormal artistic designs in China with the concept of a horizontal beam called the cantilever. Although modern architecture was apparent in America, it did not become effective until Frank Lloyd Wright designed buildings with horizontality. Inspired by buildings in China, Wright had applied this style to his works based on his travels. One building in particular, the Guggenheim Museum, is designed using the horizontality of the cantilever beam. Being one of the original icons of modern architecture in America, I strongly am in favor of the preservation of Wright’s outstanding design of the Guggenheim Museum.<!--more-->

Standing out from its traditionally-designed building peers in New York City, the Guggenheim Museum happens to be designed by the father of modern architecture. By using the horizontality of the cantilever, this building is a contrast as it is not vertically aligned like most buildings of their time. This design became an idealistic piece of work for other Non-objective artists believed in focusing on abstract and design. The cantilever had become a significant support figure in building the Guggenheim Museum just like it did in China. In fact, this figure was an inspirational design to Wright on his own voyages to China. When building architectural designs on the home front, Wright was also inspired by the low roofs they had in China. In all of the buildings designed by Wright, one theme they have in common was that “the exterior structure reflects the interior of the space.” (Fiero 21) This means that some Non-objective buildings at the time were built starting in the center and the exterior was symmetrical to the interior. This pioneer design in the field of architecture was innovative of its time thanks to the Asian architecture that Wright saw in China.

The Guggenheim Museum and many of Wright’s other irregular-shaped buildings became a major contrast to many high-rise buildings seen in New York. According to traditional building designers in this era of industrialization, building buildings this way was the least cost effective. Typical buildings in this era were upright and vertical, but Wright decided to challenge this style by having his buildings designed with more natural light and a winding ramp resembling that of a snail shell. This architectural ramp design had a negative connotation on artists, and many refused to hang their paintings in this museum. In the year 1992, a high-rise building was added next to the museum. Because of this new addition, the museum lost its beauty of contrasting with other high-rise buildings. Despite the new addition, the Guggenheim Museum has still been the symbol of modern architecture throughout the twenty-first century.

In the twenty-first century, the Guggenheim Museum is filled with many tourists that come to see modern works of art. The infamous winding ramp is still an attraction with its permanent exhibit of seventy-three paintings that appeal to people to this day. Along the ramp are paintings by twentieth-century modern artists such as Pablo Picasso and Vincent van Gough. One will also find paintings by Impressionists and Post-Impressionists as well as makers of French masterpieces. Wright had to face many tough reviewers from traditional artists, but the comments did not stop him from building this loveable museum. An iconic legend in modern architecture, this museum still stands proud and remains a popular attraction with its ramp of modern artwork.

I really admire how Wright’s designs of early modern architecture are able to stand out from other high-rise traditional buildings. This concept is interesting to learn about because I like how Wright and other designers had the bravery to challenge traditional high-rise architecture. Wright’s buildings, in relation to other buildings, were successful in being abstract and irregularly-shaped. When I was reading about this museum, I was interested in going to it myself and taking advantage of touring the ramp. I think it would be interesting to learn more about early modern architecture by visiting this museum, and how it was a total surprise to architects as well as artists at the time. I believe that other people who visit the museum will find this surprising as well, seeing a photograph of many skyscrapers with an irregularly-shaped building within the center. I feel like Wright’s design of the museum and the ramp should be a travelling exhibit because people of all generations worldwide would enjoy how Wright was innovative in designing the museum.

Wright and the Guggenheim Museum are not the only ones to defy the rigid geometrical patterns of the International Style. Eero Saarien from Finland also chose to design a piece of architecture that was subjective and romantic. In 1962, Saarien came up with the design for the top of the Trans World Airlines Terminal at John F. Kennedy International Airport. His design, which was meant to look like a bird, would signify a metaphor for flight. Saarien chose to design the top of the terminal as a “cross-vaulted roof-a steal structure surfaced with concrete-flares upward like a gigantic bird.” (Fiero 91) What the Trans World Airlines Terminal and the Guggenheim Museum is the spatial concept of the interior opening up to show uninterrupted space. Both the Guggenheim Museum and the Trans World Airlines Terminal are qualified to be Non-objective Art because of the irregularity of geometrical figures shown in both of these structures.

One thing that the Trans World Airlines Terminal emphasizes in, unlike the Guggenheim Museum, is its metaphorical significance behind its design. The design of the bird is of significance to the terminal because its representation of the corporate image and identity of Trans World Airlines. Along with the bird, Saarien also created expansive windows so people, for the first time in history, could get to see passenger jets arrive and depart via the shells that Saarien designed as part of the bird. Just like the ramp at the Guggenheim Museum, the windows are still enjoyed and visited by people worldwide every day. Thanks to Wright and Saarien, these two attractions have become successful and outstanding in the field of tourism.

Including other works by him, the architecture of Frank Lloyd Wright should be restored for its creativity and abstract design. The Guggenheim Museum, in particular, should be restored as well as its infamous winding ramp. In future generations, the Guggenheim Museum should be the prime icon for modern architecture in America. Future generations would be interested in learning where Non-objective Art came from as well. I think Wright and other architects were brave enough to challenge the work of traditionalists by their horizontal designs. Wright has become the biggest pioneer in American modern architecture, and I want future generations to know how he has become a major influence in the landscape of modern cities. It is for this reason I argue the preservation of the Guggenheim Museum and Wright’s other works. I am highly confident that people would be appreciative of Frank Lloyd Wright’s works. It would be interesting to see people of future generations tell about his works and how he became an influential architect. Wright is a well-deserved award winner, in my opinion, for his efforts for shaping and changing how Americans drastically view modern architecture.
<p class="MsoNormal" style="line-height: 200%;">Citation Sources:</p>
Jiménez, Inmaculada. "Frank Lloyd Wright." <i>Americas</i> 63.5 (2011): 6-13. <i>Academic Search Complete</i>. Web. 10 Nov. 2013.

<i>This magazine article gave me visual insights and images to Frank Lloyd Wright’s works of modern architecture. </i>

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"Guggenheim Museum." <i>Columbia Electronic Encyclopedia, 6th Edition</i> (2013): 1. <i>Academic Search Complete</i>. Web. 10 Nov. 2013.

<i>This magazine article provided me with basic information on the background of the Solomon Guggenheim Museum.</i>

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Fiero, Gloria K. <i>The Humanistic Tradition</i>. 6th ed. Vol. 6. 2011. 1-27. Print.

<i>Our textbook helped me by providing background information about early twentieth-century art.</i>

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