T rose, a whale, a ship, and a mode

T rose, a whale, a ship, and a modern-day Marilyn Monroe— these comparisons and others have been drawn to the Guggenheim Museum Bilbao (see Figure 1), a building whose unconventional synthesis of architecture, sculpture, and iconography seems to defy conventional description. At its apex, smooth, sinuous forms of titanium and limestone flow towards a center point—tilting, twist- ing, and spiraling upward in an explosion of glass and metal. At ground level, it appears even more futuristic; its staggered, free- formed volumes seem to generate their own shadows and brilliant reflections while its iridescent titanium panels almost blur the boundaries between liquid and solid. Set against the post-industrial backdrop of Bilbao, a city marked by a rigid rectangular geometry and drab colors, the museum could seem almost out-of-place, even anachronistic. Yet it appears
perfectly at home, convey- ing feelings of ease and fa- miliarity. Not without con- troversy, the museum has been an object of cultural debate since its conception. However, under the appar- ent competing chaos caused by its juxtaposition of frag- mented volumes and curved forms lies a compas- sion for the rich Basque culture and a consciousness that reflects the building’s

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T玫瑰，一个鲸鱼，船舶，和现代玛丽莲梦露-这些比较和其他已绘制的古根海姆博物馆毕尔巴鄂（见图1），建筑物的非常规合成建筑，雕塑，和肖像似乎违抗描述常规。在其顶点，平滑，弯曲的钛灰流形式向中心倾斜，扭曲ing，和不断上升的玻璃和金属爆炸。在地面上，它显得更加前卫；其交错，自由形成的量似乎产生他们自己的影子和辉煌的思考而闪光的钛板几乎模糊的液体和固体之间的界限。对毕尔巴鄂的后工业的背景，一个城市由一个刚性的矩形几何和色彩单调的标志，博物馆就几乎是格格不入的，甚至是不合时宜的。然而，它似乎
非常自在，传达感受轻松和FA miliarity。不反对广泛争论，博物馆由于其概念是文化争论的对象。不过在这样的竞争与混乱的碎片化造成并列卷和弯曲的形式是一个指南针-丰富的巴斯克文化和意识，体现了建筑的融合