The Tarrugiz on Fifth Avenue by Carlos Brillembourg

Part of the Editor's Choice series.

BOMB 57 Fall 1996
Issue 57 057  Fall 1996
Guggenheim 01

Photo by David Heald. Courtesy of the Solomon R. Guggenheim Museum.

Before the Guggeheim museum opened on October 21, 1959, some of New York’s prominent contemporary artists protested against its construction because “of its disregard of the fundamental rectilinear frame of reference.” Philip Johnson called Frank Lloyd Wright “the greatest American architect of the 19th century.” Today, more than 50 years since Wright started working on his inverted ziggurat for what he called the Archeseum, the Guggenheim is perhaps the only truly radical 20th-century public space in New York.

In Wright’s description, the expanding helicoidal ramp becomes “the transition from the carpenter and his square to the more liberal and universal atmosphere of Nature.” It is in the spatial experience of the museum where the viewer, the art, and the architecture are given, in Wright’s words, “a new unity.” Here our Renaissance perspective is substituted by a classical Chinese one where the foreground, middle, and background exist on equal planes. It is the non-Euclidian nature of this continuous space that creates a sensorial abundance. Here we perceive and literally move our bodies through an endless series of compositions that are not framed by the architecture, but rather by our surprising views of the arts always changing in relationship to the body and the space.

It took 17 years for the drawing to become reality, and the history of this struggle is a testament to both the faith and vision of the patron and his architect, as well as the the radical and disturbing modernity of the architecture.

—Carlos Brillembourg

The Museum of Modern Art by Carlos Brillembourg
Moma 1
Sarah Oppenheimer by Alexander Galloway
Sarah Oppenheimer 05 Bomb 137

Open floor plans are less open than we think—and ripe for intervention. Oppenheimer’s latest effort is on view at the Pérez Art Museum Miami.

Brad Cloepfil by Stuart Horodner
Bomb 91 Cloepfil3

The Practice + Theory series is sponsored in part by the Frances Dittmer Family Foundation.

Zaha Hadid by Cheryl Kaplan
Hadid 1

If you go to Rome and ask about Zaha Hadid’s plans for the new Centre for Contemporary Arts, people respond, “Yes, she’s got the commission, but will the building be built?” An architect’s worst nightmare? Probably.

Originally published in

BOMB 57, Fall 1996

Featuring interviews with Jasper Johns, Tobias Wolff, Laurie Simmons, Sapphire, Scott Elliott, Brenda Blethyn, Craig Lucas, Suzannah Lessard & Honor Moore, Peter Dreher, and Richard Einhorn.

Read the issue
Issue 57 057  Fall 1996