The Guggenheim, therefore, takes you out of your element: it transports you into another time, another place -- a time and place that never existed and has yet to come into existence: a sanctuary where modern art and naturalism merge into an architectural act of creation. Are these false impressions? Or is the Guggenheim nothing more than a Kandinskian cross between "fashion" and "fine art" (Johnson 666)?
There is nothing absurdist about Wright's architecture. It is sincere and always quiet. Yet something about the Guggenheim is so unlike Robie House -- so bursting -- so NYC and modern -- that it amazes, calls attention to itself and yet does not play the fool. It is as if nature, electrified by the city life of Manhattan, crawled its way out of the waters in Central Park and evolved in a sudden awakening of energy into a concrete structure -- the fruit of the vine of 5th Avenue: a pine cone inversion dangling upwards toward the sky.
In conclusion, Wright's Robie House and Guggenheim are architectural works that surprise and yet do not shock; that confound and yet do not offend. They draw one to a sense of the spiritual -- and yet reject the traditional definitions and rigors of medieval faith: they draw attention to themselves and their individuality and allow one to turn an introspective eye on things; but they also...
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