Frank Lloyd Wright, Solomon R. Guggenheim Museum, New York City, 1942-1959발음듣기
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Frank Lloyd Wright, Solomon R. Guggenheim Museum, New York City, 1942-1959
116문장
100% 한국어
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(lively piano music) Steven: This is Steven Zucker, standing outside of the Solomon R. Guggenheim museum, with Matthew Postal, an architectural historian.발음듣기
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Standing outside of one of the most iconic buildings in New York, certainly one of the most unusual buildings.발음듣기
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Matthew: He wanted to design something that would leave a mark, an unforgettable mark in Manhattan.발음듣기
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Steven: The famous model that we often see him and Hilla Rebay with, and Solomon R. Guggenheim himself dates to 1945, but then the building doesn't get built until 1959.발음듣기
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Then, finally, there is the issue of, how do you build a spiral museum entirely out of concrete?발음듣기
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This building, because of the width of the ramps, and the walls and it all has to be one continuous surface, requires a lot of different types of cage-like metal, to hold up the structure.발음듣기
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Steven: He's doing something incredibly ambitious, by keeping this atrium completely open, by having these cantilevered ramps that circle through the atrium, and give us the exhibition space.발음듣기
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In that it kind of reminds me of its visual precedent, which is to say, something like the Pantheon.발음듣기
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Matthew: This is certainly like the Pantheon, and the Hagia Sophia, in it's inspired by expressionist architecture, of the 1910's and 20's.발음듣기
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Matthew: When you think about it, it's one thing to have these ideas, it's another thing to execute it.발음듣기
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Steven: Didn't Frank Lloyd Wright also design, a auto showroom on Park Avenue that actually has a ramp?발음듣기
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Steven: The museum was originally called, the Museum of Non Objective Art, which was an early way of saying abstract.발음듣기
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She exhibited quite frequently, and she met Solomon when his wife commissioned a portrait of him.발음듣기
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Steven: There's a really interesting disconnect, because when we think of Frank Lloyd Wright as an architect, I think we often think of him as antithetical.발음듣기
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When it was suggested to Hilla Rebay to hire him, she reportedly said, "I thought he was dead."발음듣기
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Ultimately, Wright was well-known, there was a lot of attention paid to him, after Falling water was exhibited at the Museum of Modern Art.발음듣기
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Frank Lloyd Wright, who was a distant cousin of Robert Moses, who was the head of planning in New York City, actually traveled around Manhattan in an open Cadillac, looking for an ideal location.발음듣기
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Does it overwhelm or does it frame it in a way, that draws the art out and excites us visually?발음듣기
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It's a funny and ambitious but also, I think, combative relationship with the modernism that's shown within the museum.발음듣기
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Steven: There is a kind of push and pull, and there is a really kind of modernist conceit here, in that it actually raises that question.발음듣기
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It remains very much in the foreground, and forces us to grapple with those kinds of questions.발음듣기
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There's always this kind of antagonism then, between the rectilinear and two dimensionality of the canvas, and the dynamos of the structure.발음듣기
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Steven: Maybe not paintings themselves in isolation, but perhaps one of the issues is that, when we get to the modernist era, we don't think about paintings in isolation.발음듣기
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