The Guggenheim Museum is an embodiment of Wright's attempts to render the inherent plasticity of organic forms in architecture. His inverted ziggurat (a stepped or winding pyramidal temple of Babylonian origin) dispensed with the conventional approach to museum design, which led visitors through a series of interconnected rooms and forced them to retrace their steps when exiting. Instead, Wright whisked people to the top of the building via elevator, proceeding downward at a leisurely pace on the gentle slope of a continuous ramp. The galleries were divided like the membranes in citrus fruit, with self-contained yet interdependent sections. The open rotunda afforded viewers the unique possibility of seeing several bays of work on different levels simultaneously. The spiral design recalled a nautilus shell, with continuous spaces flowing freely one into another. Source: Matthew Drutt, www.guggenheim.org/the_building.html / '...[Wright's] great swansong, the Solomon R. Guggenheim Museum of New York, is a gift of pure architecture„or rather of sculpture. It is a continuous spatial helix, a circular ramp that expands as it coils vertiginously around an unobstructed well of space capped by a flat-ribbed glass dome. A seamless construct, the building evoked for Wright 'the quiet unbroken wAvenue'...' Source: „ Spiro Kostof. A History of Architecture, Settings and Rituals. New York: Oxford University Press, 1985. p740.
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