Guggenheim.org
The Solomon R. Guggenheim Museum New York
Perhaps best known for its innovative, curvilinear form, The Solomon R. Guggenheim museum, New York began its construction in 1956 (1). The structure, designed by Frank Lloyd Wright was designed with the intentions of illuminating the artwork, bathing it in natural light however met many challenges in achieving this goal.
Wright, who is often considered the godfather of the modernist movement, addresses the issue of light in an expressive yet practical way throughout his architectural career. An example of this can be seen in his Taliesin West (in which he would have inhabited during the constructed of the Guggenheim), where large skylights provide the central living space with a generous dose of daylight. Wright built this home as a place in which he could spend his winters with his wife and enjoy the winter sun of Arizona (2)
Although Wright never got to see the completion of the Guggenheim following his death in 1959, it is often considered a monument to his architectural career (3). Commissioned by Guggenheim trustees, wright was tasked with creating a space to display the modern art works of painters such as Picasso and Kandinsky. He set about doing this by creating a space where seamless white walls would contrast the vibrant colours of the artwork and make the paintings appear as though they were floating. The form of the structure, however, proved challenging. With each story, the spherical floor expands, meaning that the walls of the gallery slant outwards.
Skylights are introduced at the transitions between stories to shed light down on to the paintings within. The glass in these sky lights are frosted in order to distribute the light evenly. Although these openings are successful in introducing daylight into the space and illuminating the installations, the angle of the skylight’s direct rays into the eyes of the viewer. As a result, the viewer experiences eye fatigue and glare. (4) The impressive, yet problematic form of the structure also was the causation of shadows which would interfere with the floating-picture-aesthetic that was intended.
In order to resolve this issue regarding daylight, The American lighting corporation was called in five months before the opening of the museum in 1959 (5). A series of measures were taken including a diffusion mechanism and the mixing of fluorescent
lights with the existing daylight. A plastic louver with half inch cubes and 45-degree shielding was placed again the exterior glass panel of the skylight. (6) This deflected the light so as rays would not trouble the art viewer’s eyes. The daylight was also infused and mixed with an internal artificial light fixture which was intended to mimic natural light by combining the two sources in an even manner. The result of this combination was an outstanding 68,500 lumens per gallery (7). A further eight fixtures were inserted to cancel out shadows which again succeeded in providing the space with an evenly distributed daylight, placing emphasis on the works of art and contrasting them with the brilliant white walls.
(1) (From top left) www.guggenheim.org (2) inexhibit.com (3) newyorker.com (4&5) Hackenback American Lighting Corp.
Climate and weather conditions are also of upmost importance when considering the effect of daylight on the Guggenheim Museum. New York has a humid continental climate. This means that its summers and winters contrast greatly and its seasons transition in a conventional manner, ie. temperate springs, snowy winters etc. (8) with regard to cloud cover, the city itself has an average cloud cover of 59-62% annually
The museums urban setting and proximity to high-rise corporate and retail structures means that surrounding shadows will be cast on the building. Light smog and clouds will also diffuse direct daylight. The Guggenheim, as pictured above, however is privy to being situated adjacent to central park meaning that it is not land locked essentially by four sides of over shadowing buildings.
It should be known that light flooded the ramped stories through a calendrical central, floor height hall, capped with a dome. This means that daylight enters the space from more than one angle.
Although initially the form of the Guggenheim caused many issues regarding the illumination of its art work, I think it is important to judge the structure both as an art form itself and also as a place for art to be viewed. Daylight seeps into the interior of the Guggenheims ramps from all angles. Its pantheon like dome allows even the central hall to be lit by daylight. Art viewers are not distracted by windows that boast views of the museum’s primary location and of central park but are encouraged to remain focused on the modern art due to the clever installation of skylights. FLW’s paint choice of white also aids the daylight in basking the entire space in a universal manner, the rays bouncing of the simplistic white walls. A sloping floor at the foot of the outward slanting walls ensures little to no shadows beneath the art installations again proving a successful attention to detail.
With regard to the structures initial difficulties involving glare and the viewers eye fatigue, I believe that through the measures taken by the American light corporation, the Guggenheim successfully controlled daylight in order to create the best viewing experience for its visitors. The Guggenheim and its innovative mechanisms for overcoming glare, as well as its unique form and the manner in which it introduces daylight into a galley space, indeed constitutes good daylight design in architecture.
Bibliography
(1) The Guggenheim Museums and Foundation [Internet]. The Guggenheim Museums and Foundation. 2020 [cited 23 October 2020]. Available from: https://www.guggenheim.org/blogs/findings/lighting-great-museum< >
(2) Getting Personal with Frank Lloyd Wright: Taliesin and Taliesin West | Frank Lloyd Wright Foundation [Internet]. Frank Lloyd Wright Foundation. 2020 [cited 21 October 2020]. Available from: https://franklloydwright.org/getting-personal-frank-lloyd-wright-taliesin-taliesin-west/Guggenheim Architecture Timeline |
(3) The Guggenheim Museums and Foundation [Internet]. The Guggenheim Museums and Foundation. 2020 [cited 21
(4) Hackenback:American lighting corp. The lighting of a great Museum [Soloman R. Guggenheim Museum. Robbins, 1960. Page 5
(5 )Hackenback:American lighting corp. The lighting of a great Museum [Soloman R. Guggenheim Museum. Robbins, 1960. Page 6
(7) Hackenback:American lighting corp. The lighting of a great Museum [Soloman R. Guggenheim Museum. Robbins, 1960. Page 9
(8) 613 Climate of New York (state) [Internet]. En.wikipedia.org. 2020 [cited 23 October 2020]. Available from:https://en.wikipedia.org/wiki/Climate_of_New_York_(state)#cite_ref-10
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