Frank Lloyd Wright's Guggenheim Museum represents a clear attempt by Wright to break away from the traditional architecture of Manhattan. In a city dominated by tall, thin, box-like skyscrapers with almost completely glass facades, Wright created a building whose structural movement was horizontal, not vertical; whose shape was organic, not square; and whose windows were tastefully placed, not laid out in a matrix of glass. Below are a series of photographs that illustrate this point. Figure 1 From across the street, one can observe the striking difference between the Guggenheim and the other buildings around it. In this photo, one can see how the horizontal shapes and nearly windowless concrete facade contrast with the skyscrapers that dominate the Manhattan landscape. The main cylindrical drum shown here is an example of Wright's attempt to incorporate round forms into the basic shape of his building so as to contrast even more with the block-like buildings around it. More examples of these organic sweeping shapes can be seen in Figure 5 and 6. Figure 2 The section of the Guggenheim that extends out onto 89th street helps to accentuate the horizontal feeling of the building. By drawing the surface out along the horizontal, the Guggenheim contrasts even more strongly with the tall vertical buildings that surround it on all sides. The effect of what will be called the "additional section" can be best seen in Figure 3. The long transitional line that connects this additional section and the main spiral is the most distinct inorganic shape in the building's architecture, and it helps to transition the building's rounded shapes to the square grid of the sidewalk. Without this flat awning, the transition from the main cylindrical area to the pavement would be too sharp. The curved ends of this awning (best seen in figure 1) serve to make the transition from the cylindrical drum the sidewalk even easier. Because the end is curved, but transitions into a flat space, it makes the transition from the drum to the awning easier. Then, since most of the awning is linear, it is easy to transition from the awning to the sidewalk. Figure 3 This view helps to show how the Guggenheim's structural philosophy appears to be an attempt to stand out from the surrounding buildings. The long horizontal (in this perspective, diagonal) lines created by the additional section draw the eye down towards the vertical building that stands tall and thin in comparison with Wright's creation. The recession in the facade that transforms the horizontal space described in figure 2 into an awning also helps the viewer locate the entrance. In this view, one can see that the negative space underneath the awning draws the viewer in towards the entrance. It is good that this area is flat too (as mentioned in figure 2), because were this area curved, it would be difficult to determine where the front of the building lay. The flat entrance contrasts with the rest of the building, and the viewer's attention is drawn to this linear part of the facade, making it even clearer where to enter the building. Figure 4 The inside of the Guggenheim provides a unique way to view the art exhibited there. Visitors travel up the elevator to the top level and work their way down the spiral ramp, viewing the works as they descend. The spiral is divided into many sub-sections delineated by small alcoves in which (or sometimes in front of which) some exhibits are placed. The large white bands that separate each level mimic those on the facade of the building (Figure 1) so that the spiral structure inside the drum can be inferred through the building's almost transparent exterior. The viewer is forced to assume from the dark rings and cylindrical shape of the facade that the inside will mirror the outside. Figure 5 and Figure 6 These images show Wright's attempt to use organic forms to set his building apart from its surrounding skyscrapers. In Figure 5 we see the bottom of the rounded end of the awning and a curved pathway creating a dynamic sweep at the street level through the box-like building across the street. A slightly subtler attribute of the building is the round bubbles pictured here that dot the building's grounds. These also lend themselves to the overarching organic shape of the building. In Figure 6 we see that same pathway from the opposite side, exposing the rounded support columns (more of which can be seen in figures 1, 2, and 3). In the background, we see central park, a site that perhaps is meant to make the viewer draw parallels between the organic shapes in the park and those of the building. Figure 7 and Figure 8 From a distant perspective as in Figure 1, the viewer gets the impression that the Guggenheim is almost all concrete. This effect was created on purpose to contrast with the tall buildings that consisted of rows and columns of large glass windows. However, there are several points in the building that contain glass. The main entrance seen in Figure 2 is made entirely of glass. The windows in the additional section (seen here) and the skylight at the top of viewing area are also main areas containing subtly hidden windows.