Deconstructivism and Bilbao museum - Essay Example

The new Guggenheim Museum designed by Frank Gehry which currently stands in Bilbao, Spain, is found to be an incredible piece of proof that exhibits how the theory of Deconstructivism may be exemplified at its finest, at least to the sensible findings of The Times’ critic Herbert Muschamp. It could well be an exact concretization of the core substance of Deconstructivism as many would expect based on the fundamental working definition. What Muschamp has come to discover as ‘The Miracle of Bilbao’, being the new Guggenheim Museum, is the reason behind the frequency of pilgrimage to the town at the Basque country’s northeast corner.

Muschamp further expresses “Those who visit Bilbao, however, may come away thinking that art is not entirely remote from matters of life and death.” According to him, it is not Gehry’s structure nor the physical sight of it that causes the miracle to happen but that which bears the capacity of attracting pilgrims is the “extravagant optimism” – a positive consequence in the attitude of watching the museum take shape then having a sort of perception that is bound to make an audience pass on a promising impression.

Hence, among art intellectuals, a querying testimony of magnificence emerges where one is led to promote with conviction asking “Have you been to Bilbao?” and equivalently, “Have you seen the light? Have you seen the future?” Through Gehry’s creation in Bilbao, as featured in Muschamp’s discourse, the concept of Destructivism has been materialized via major work which turned out. to be an architectural entity capable of projecting a “broad range of meanings” that may serve to embody “contemporary social and cultural norms.

” By theoretical endeavour, Destructivism challenges the typical objective of methodologists in art who are mostly concerned and accustomed to rely upon the established idea of certainty or unified thoughts which would necessarily systematize the process of constructing the intended object or piece for which a fixed identity is given (Germizaj 1). Correspondingly, Guggenheim Museum speaks of such truth as Gehry employs “social fragmentation”, a sense of fashion in artistry that may seem strange to those who lack poststructuralist orientation or view of exploring socio-cultural meanings by which broad associations occur and criticisms naturally develop out of rich perspectives since ‘fragments’ are brought across instead of ‘unity’ or ‘wholeness’ which singularizes interpretation thereof.

One looks into Gehry’s work in detail, exterior and interior-wise alike, with a possibility of confessing that while an aspect of his craft reminds of something, the rest entails something else as well, when thorough examination reveals that the parts are actually independent of each other in the context of culture or society being conveyed within