Francesca 9/11

Our discussion of prevalent themes in postmodern architecture called to mind a renowned architect whom I greatly admire. Perhaps one of the greatest voices in such architecture is Frank Gehry. His various works, including the famed Guggenheim Museum Bilbao, serve as explications for predominant postmodern themes. For instance, the notion of “disharmonious harmony” is evident in the Guggenheim’s construction. The building appears as though it is a sea of steel curves, evoking a feeling of freedom in its structure. As the height of the undulating metal alternates sporadically, one finds them self wondering how this architectural feat appears to be a cohesive unit. This describes the essence of postmodernism’s emphasis upon an ideal of fragmented unity. The curves are not characterized by a consistent pattern, yet the incorporation of plurality elsewhere in design draws the eye to synergistic elements. Such plurality occurs on the surface of the structure, in the uniformity of window shapes. Moreover, the appearance of the Guggenheim suggests characteristics of the human body. As the resonating feature of curves signifies freedom of expression in design, it subtly implies the human form as well. This feature of the building serves as the demonstration of an anthropomorphism, another theme in postmodern architecture. Anthropomorphisms are defined by their attribution of human characteristics to a non-human object. Thus, the Guggenheim conveys this idea in an understated manner. In addition, we see the modernist convention of form to follow function, by employing an evident lack of abstraction, abandoned. The Guggenheim, as well as all of Gehry’s designs, is characterized by an intricate design that lacked postmodern intentions. Although Frank Gehry wished to not be affiliated with a specific architectural movement, his work inadvertently fell into a genre of architecture with analogous aims to his own.