Guggenheim Museum Bilbao - A Design Evaluation Report

Guggenheim Museum Bilbao A Design Management Evaluation Report Obawemimo Aina No.1610606 - December 27, 2016


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1.0 INTRODUCTION In the past 20 years, Bilbao has witnessed urban regeneration and economic development, a sharp contrast to situations that existed in the 80’s which necessitated the need to embark on a revitilisation plan for the city. The urban renewal plan was to include the construction of a modern art museum, Guggenheim Museum Bilbao (GMB) show in figure 1 below (selected from 71 alternatives proposed by experts within the Basque region - Plaza & Haarich, 2013) with investments in the cities basic infrastructure – transportation (road, rail and air), expansion to help ignite economic revival.

Figure 1. View of GMB from the Nervion River.

The GMB was conceptualized in 1991 with the construction period lasting between 1993 to 1997. The initial project budget was estimated at $100m excluding professional fees and cost of land (Fathi, 2014). The aim of the project was to achieve the following key objectives: •

The development of a modern art museum.

•

The revitalisation of the city of Bilbao (Loss of 60,000 industrial jobs).

•

Recovery of the riverbank that housed a dilapidated port (Decontamination and flooding caused parts of two bridges to collapse, 37 people died).

•

Redevelopment of the area for leisure and cultural use (To augment the heavy investment in the museum construction).

•

Development of waterfront properties along the river.

•

Prevent migration has a result of the downturn in the economic fortune of the city (81,000 people left the city).

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Development of underground rail networks and light rail systems that connect communities along the Nervion river. See layout in figure 2 below.

Figure 2. Rail network system.

Source: Alexander Garvin, 2014.

Figure 3. View of light rail in Bilbao

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The revitalisation plan will also involve the construction of a new terminal for the airport, a new railway system supported by a railway station, a 75m long bridge, now known as the Zubizuri Bridge, which was designed by the Spanish architect Santiego Calatrava who also designed the airport in Bilbao, all jeered towards the urban renewal of the city in the eye of recession and upon the failure of the city to transit to one of a high service industry (Bruggen, 1997).

The GMB will cover a total building area of 24,000sqm comprising of (See Appendix A for project dimensions); •

Exhibition halls

•

300 seater auditorium

•

A restaurant

•

Cafe

•

Offices and sufficient parking area.

This design evaluation report will attempt to analyse: •

Drivers behind design concept.

•

Impact of the museum on the city —’Bilbao Effect’

•

Material selection.

•

Project complexities.

•

Site analysis and alternative(s) considered.

•

Use of innovative technology.

•

Investigate collaboration and communication techniques.

2.0 PROJECT AGREEMENT, OWNERSHIP, PROJECT STRUCTURE AND ARCHITECT SELECTION TIMELINE In 1991 an agreement was signed between the Basque Administration (BA), consisting of Provincial Council of Vizcaya and Bilbao Municipality (BM) and the Guggenheim Foundation (GF). Oh (1999), in his study presented the ownership structure as below;

OWNER

SHARE %

BA

45%

GF

45%

BM

10% Table 1. Ownership structure.

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2.1

STAKEHOLDERS

Other key participants include IDOM (see Appendix B for full list of project participants), selected against SERVEM based on IDOM’s (executive architects) collaborative work culture which was considered vital for the success of the project. Skidmore, Owings & Merrill (SOM) - as structural engineers. See figure below for overview of project structure.

Figure 3. Project Structure.

Source: Oh, 1999.

The first task of the consortium was to conduct architect selection and to achieve this, a competition was held amongst a few select architectural firms i.e., Arata Isozaki and Associates of Tokyo, Frank O. Gehry and Associates (FOGA) of Los Angeles and Coop Himmelblau of Vienna, saddled with the development of a design that represents their concept for the museum (Fathi, 2014). See figure 4 below for the architect selection timeline.

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ARCHITECT SELECTION AND PROGRAMME STATEMENT TIMELINE

ARCHITECTURAL PROPOSAL SUBMITTED

MEMORANDUM ON SELECTION PROCEDURE SENT ARCHITECTURAL PROPOSAL RECIVED

JUNE 26

JULY 20

FIRST SKETCH ON THE BACK OF HOTEL STATIONERY

JULY 5

JULY 7

CHANGES TO THE MODEL

JULY 9

JULY 13

JULY 15

JULY 20

JULY 21

MODERATELY DEVELOPED MODEL TO REFLECT ARCHITECTS DIRECTION

GEHRY VISITS SITE

FOGA ANNOUNCED WINNERS

SCHEMATIC MODEL PREPARED

Figure 4. Architect selection timeline.

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Authors adaptation.

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3.0 SITE SELECTION The GMB site sits on a deltoid measuring 32,700m2 along the banks of the Nervion river, and prior to the selection of its current location, the Basques Administration was planning on converting a disused wine-storage facility into a cultural center. The facility was located along Bilbao’s Alameda de Recalde, close to the Nervion river, with funds already allocated and an existing building model. At this same time, GF was looking for a new site in Europe after their proposed museum development in Salzburg, Austria was stalled; they received a proposal for a cultural partnership from BA which was well received by Thomas Krens, the then director of the Solomon R. Guggenheim Foundation.

Krens was ill disposed to the wine-storage warehouse known as the Alhondiga and the design intentions of BA – a glass cube. The proposed building presented a few functionality issues such as: •

Low ceiling (3.5m high).

•

Regimented row of columns with little space between them.

There was an obvious reluctance from Krens to give up on the project so he sort a second opinion from Frank Gehry, who he had been involved with on a conversion project a few years back, and who had been involved in several industrial space transformations projects.

Gehry’s decision was definite and involved the change in the location for the museum, as the current choice was best suited for a hotel with shopping areas. When quizzed by the BA about where his choice would be, by the river he said.

While on a run through the city, Krens had a revelation that the museum should be on the industrial wasteland, in the middle of the city banks of the river (see Figure 5&6 showing cleared site and map).

Krens later recollected that his decision to invite Gehry was more about confirming his argument against the Alhondiga, as having a great building was consequent upon having a great location (Bruggen, 1997).

Figure 5. Cleared site.

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Figure 6. Map of Bilbao.

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4.0 RISK MANAGEMENT PLANNING According to PMI (2016), risks are inherent attributes of all construction projects irrespective of size and project uncertainties can arise due to; •

Protracted duration and aggressive schedule.

•

Complexity of technical processes.

•

Involvement of multiple organisations actively engaged in the project with divergent goals and interests.

•

Cost escalation.

See figure 7 below for overview of key considerations for risk planning.

FINANCIAL RISK ASSESSMENT

PROJECT OBJECTIVES

PROJECT PLANNING

PROJECT EXECUTION

SCHEDULE RISK ASSESSMENT

Figure 7 . Illustration of risk planning process.

Source: PMI, 2016.

To mitigate against these factors, the team took a holistic approach in eliminating risk or at least reducing its impact. The following decisions were made; •

That design and construction must overlap to achieve project timeline.

•

To divide construction activities into work packages.

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To establish budgetary control measures early on to monitor and prevent cost escalation throughout the project lifecycle.

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4.1 DESIGN AND CONSTRUCTION OVERLAP In an important study of the museum, (HDS,1999), it was agreed that the aggressive timeline was consequent upon deciding to overlap design and construction functions and the initial project timeline according to key phases as identified by IDOM were TIMELINE

MILESTONE

1993

Completion of project designs and commencement of construction activities.

1994

Structural framework completion.

1995

Completion of external faรงade.

1996

Completion of interiors.

Table 2. Project milestone.

To achieve this rather laudable project timeline, the design phase must be done concurrently with construction, and a fast track strategy (managerial strategy which allows for; integration of construction and design, involvement of contractors in the process, and the overlapping of work packages) was the appropriate path that will allow a combination of both (Jergeas, 2004).

DESIGN PROCUREMENT CONSTRUCTION

Figure 8. Fast track process illustration.

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4.2 WORK PACKAGES In his research Oh (1999), asserts that the time management of the process required a logical mechanism capable of actualising the project plan in a sequential way necessary for achieving project deliverables. This process produced a breakdown of construction activities into smaller manageable packages that allowed for design and construction to overlap. The work packages are: •

Demolition

•

Foundation

•

Structure

•

Exterior

•

Interior and installations

•

Urban infrastructure

•

Furniture, fixtures and fittings

Kerzner (2013), attributes the success of a plan to; •

Availability of sufficient details to support the plan.

•

Functionality of purpose in addressing key areas.

•

The use of standard project conventions against re-inventing the wheel.

•

Inclusion of performance metrics.

•

Breakdown fits the project type.

4.3 BUDGETARY CONTROL IDOM was saddled with achieving the quality within the constraints of budgetary allocation and creating an equilibrium between creative concept and costs while providing FOGA the freedom to express their creativity.

To achieve this a continuous cost monitoring system was set up to expedite action in the case of any cost variance from agreed project cost. A mandatory meeting involving all project participants was held every 6 weeks to compare actuals against estimated costs. These meetings presented opportunities for variance in cost to be quickly identified and alternatives proposed.

Each work package i.e., demolition, foundation was closely monitored for budgetary adherence and the assigned project manager for each work package was responsible for accomplishing the objectives of his work package.

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5.0 DESIGN DRIVERS The complex building in Bilbao started with semi-automatic writing, and a combination of the subconsciously drawn sketches with the requirements of the building programme. See figures 9,10,11,12 below. Designs where interpreted into a variety of volumes, this preliminary trial pieces freed him to work like a sculptor starring before his clay.

Figure 9. Pencil sketch, 7/91.

Figure 11. GMB, north elevation

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Figure 10. GMB, north elevation sketch, 7/91.

Figure 12. GMB, north elevation, 11/91.

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Figure 13. Schematic model. (Before)

Figure 14. Schematic model (After) Clearly Gehry attempted to put the building in the context of what he was thinking, as he made several bigger models, adding new elements and new pieces to the puzzle, observing various parts in more details and once he was convinced he was on the right track with a pointer to where it might lead, he took a retrospective view at the box-like bases and changed their form until they reached a certain stage where he was satisfied with what he saw (see Figure 13 & 14 above).

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6.0 INNOVATIVE TECHNOLOGY The mathematical complexity of the intricate curves of the GMB necessitated the innovative use of CATIA – a 3D design software predominantly used in the aerospace industry developed by Dassault Systemes, a French company with affiliation with IBM. The software enabled the designs to be presented in a digitised model for further enhancement (DesignWIKI, 2016).

Although CATIA exhibited precision in locating and sizing all structural member of the design, the model remained in the form of wire frame line drawing, see figure 15 below. To transform the wire line drawing into a 3D computer model of structural steel, BOCAD – road and bridge construction software was used to produce either a 2D fabrication drawings or computer numerically controlled (CNC) milling data (Parkyn, 2009).

Figure 15. CATIA image

Figure 16. 2D drawing

The design process also witnessed the use of innovative computer synergy between the architect, structural engineer, and steel fabricator during the various stages of the project (Iyenger et al, 1998).

During fabrication, each structural part was barcoded and while on site, the bar codes were scanned and survey equipment’s linked to CATIA ensured that each piece was positioned precisely, as defined by the coordinates in the computer model (Parkyn, 2009).

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6.1 BENEFITS OF TECHNOLOGY ON THE PROJECT The continuous use of technology on the GMB project like CATIA and BOCAD led to; •

The elimination of on field measuring, cutting and welding, as it accurately fabricated the primary structure.

•

Elimination of margin of error and precision increase.

•

Removed the time of having to perform lengthy calculations, and the preparation of multiple sections and plan cuts to describe the design.

•

Cost estimation error was eliminated – as contractors were certain of form and buildability.

•

It allowed architects and contractors to review projects electronically, checking design conformity and work coordination.

•

Prevented inaccurate use of materials.

7.0 COLLABORATION There is a common acceptance among construction stakeholders on the need to improve project effectiveness due to lack of collaboration (Beach et al, 2005). This evident disconnect is the result of the adversarial relationship extant between multidisciplinary construction teams which has led to waste in comparison with other sectors and left the clients short-changed (Latham, 1994).

Project collaboration is the most efficient way of achieving success in construction i.e., new build, renovation and building maintenance by this the desired value is added to the clients (Bennett & Peace, 2006). Supporting the claims of Bennett and Peace, Egan (1998) posited that the partnering of design and construction with supply chain management is pertinent to providing better value for the end-user clients and ensuring project effectiveness. This is a similar conclusion of the Latham report, which agrees on the importance of design and construction to annihilate waste and inefficiency in materials and labour use (Cain, 2004).

The completion of project activities using local contractors and resources was a key requirement and a clear directive from GMC, it was then imperative for IDOM to localise design solutions to be in line with this directive. One of the identified solutions was the involvement of selected local contractors in the design development phase. This synergy created an environment of trust beneficial to both IDOM and the potential contractors. It also provided the contractors with clarity of construction details before the actual bidding process. Figure below illustrates the effect of collaboration on the design development phase.

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RAPID FEEDBACK

DECISION MAKING

CLARITY OF CONSTRUCTION DETAILS

QUICK SELECTION OF SUITABLE CONTRACTORS

PERFORMANCE IMPROVEMENT

RATIONAL BEHIND DESIGN DECISIONS

Figure 17. Positive effect of collaboration.

Source: Authors adaptation.

Gehry also attributed the success of the project to the clients’ willingness to talk and collaborate, and being able to speak directly with the decision maker (HBR, 2011).This agrees with Kerzner (2013), who posited that effectivity is gained when a project manager (in this case architect) interfaces directly with senior executives during planning.

There is also evidence of joint evaluation and understanding of each other’s inherent risks by project participants to increase efficiency and mitigate against risks.

7.1 OBJECTIVES OF MULTIDISCIPLINARY COLLABORATION Due to the complexity of the GMB project, collaboration between organisations was key to achieving project success and per Muir (1995), the following are the key objectives of multidisciplinary partnering: •

To improve the flow of information.

•

To improve the decision-making process.

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To avoid abortive work through duplication.

•

To increase cost effectiveness of design procedures.

All four objectives were clearly met through collaborative work on the GMB project.

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8.0 PROJECT COMPLEXITIES The challenges witnessed during this project has been divided into four segments for sake of clarity; Technical, Managerial, Relational and Schedule.

8.1 TECHNICAL Structural Frame Steel Steel was the obvious choice to hold the strength of the titanium plates, however if steel reaches over 600 degrees Celsius, it loses half of its load bearing capacities.

Solution The engineers turned to nature and used a naturally occurring fire retardant substance (Mineral wall) that can withstand temperatures of over 1000degree Celsius. Mineral wall is made from volcanic rock mixed with concrete; it sticks to the steel frame and prevents it from melting and building from collapsing.

Concrete The design team considered concrete as their building material, which would have worked, but the wall would have been too thick, defeating the requirement of achieving thin walls.

Solution The solution was found in thin steel skeleton, but would it be strong enough to support the entire building frame? It was discovered that changing the shape of a material to add a curve to it made it stronger, the engineers then turned the curved walls to their advantage by making it support the building and in the process created huge gallery spaces – they further proposed to the architects to make the design curvier to create additional strength. The walls of the Guggenheim were thus built with a double curve for strength.

Lighting Lighting A key requirement in a museum is adequate illumination.

Roof lighting Used extensively for natural light illumination and designed to avoid having overbearing effect on displayed artworks and to create an unbroken ambience.

The electric lighting system is firm at a specific intensity to improve lighting effect.

Glass Curtain Walls Glass curtain walls were introduced to further provide illumination to the central atrium. Glass elevators also provide illumination to the three levels of the atrium. The glass protects the internal ambience from ultraviolet rays and does not color incoming light, known as ‘California Glass’ (HDS, 1999).

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Cladding Lead Copper The project team had initially planned on using lead copper for the exterior envelope of the building, but it was recently classified unsafe because of its toxic nature. Stainless steel was also considered but didn’t provide the desired effect and was too heavy.

Solution - Titanium The choice of titanium was accidental as a replacement for lead copper, it is strong, light, non-corrosive, reflects light in a completely different way. It would also give the museum the magical look desired by Gehry, but it presented another problem; pinning them to the steel structure would create holes when screwing them in place – creating holes for water to penetrate into the steel frames and cause rust, and a danger to the exhibited precious art works. Making the building waterproof was therefore paramount.

Solution Bitumen was chosen because of its viscoelasticity (changes its properties according to both temperature and the right of strain), adhesiveness, and 100% water resistance qualities, however under strain, bitumen breaks. To ensure the elastic recovery of bitumen, rubber was added to it, the rubber allowed the bitumen to ‘heal’ around the screws that passed through the titanium and steel.

Foundation Due to its proximity to the Nervion river, a site with a well-documented case of flooding, it was imperative to be innovative with the foundation design. The integration of anchors of different sizes would help cancel out buoyancy in the event of flood. The poor quality of the soil along the Nervion river necessitated the need to have a light-weight structure and the incorporation of light weight concrete aggregate to the overall design. The overlapping of the foundation construction works with the concrete and structural jobs facilitated better design (HDS, 1999).

Figure 18. Foundation laying.

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Heating and Cooling The external components of the building consists of various sculptured objects hence a mix of mechanical systems on the external building façade would create a visual discordance. In addition, a vast region of the building would have a variance of occupants, and at the same time hold a wide range of artworks. This scenario requires a system that will create a balance in the ambience within the museum. A well thought out, functional climate control system with the right blend of aesthetic value was therefore a necessary driver in determining the HVAC solution for the museum. To achieve this balance, the following were required to be present•

A separate air handling room designated for each gallery.

•

Air distribution technique that would be silent and have low velocity.

•

A concealed outlet for the supply and return of air within each space.

•

Floor and cavity ducts that would supply air around the building to control levels of humidity and temperature of internal wall surfaces holding the exhibited artworks.

•

Ventilation and hazardous chemical storage room necessary for conservation laboratories and photography.

•

Installation of chemical filtration system, that eliminates harmful and detrimental gases thus improving internal air quality.

8.2 MANAGERIAL The large list of project participants and their geographical spread gave rise to managerial issues, as the area of involvement of each organisation was separate but interrelated and required utmost coordination i.e., lighting, curtain wall, foundation and structures. The complexities in this area was handled by; •

Setting clear objectives and defining each organisations functions, and in the event of conflict, the onus fell on the consortium to resolve it.

•

Dependence on phone calls, internet and faxes were used to coordinate project activities between participants in different locations.

•

The structure of IDOM’s team was created in resonance to the professional set up of participating organisations.

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8.3 SCHEDULE Time constraints imposed meant project was to be fast-tracked (overlap of design and construction phases) to achieve the 1997 deadline. Steps taken include; Ensuring smooth coordination between FOGA and IDOM to avoid project delay.

Establishment of design freeze stage, where FOGA were bound to deliver specific design packages to enable commencement of bidding process and subsequent construction of the design stage (Oh, 1999).

9.0 SUSTAINABILITY MANAGEMENT There is extant evidence of measures adopted by management of GMB in reducing their operational impact on the environment and their commitment towards sustainable development. The key pointers are; • Strict adherence to legal environmental requirements.

• Adoption of pollution and waste control measures achieved through efficient use of resources.

• ISO 14.001 certification achieved in 2004.

• Efficient use of energy.

• Active recycling.

• Provision of storage space for hazardous materials.

• Wastewater management.

• Training and awareness sessions for GMB staff on environmental issues.

10. BILBAO EFFECT IN NUMBERS In the first 4 years, over 4million tourist visited the museum (see chart below). Generating $500m in profit. Tourist spending stood at:

ACCOMMODATION

$43M

CATERING

$35M

SHOPPING

$13M

TRANSPORT

$9.5M

LEISURE

$6.6M

Table 3. Tourist spending.

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48% of visitors to the museum between 2001 and 2002 were foreigners, 35% were spaniards who lived outside the Basque region and 17% were local residents. Figure 19 is a chart reflecting number of visitors to GMB from 1997 to 2006. In the first 3 years of opening, tourist spendings raised $110m for the government in taxes (The Economist, 2013).

GMB VISITORS 1,400,000

1,307,065 1,109,495 948,875930,000 950,0001,008,774 851,628869,022909,144

1,050,000 700,000 350,000

259,234 0

1997

1998

1999

2000

Figure 19. Annual visitors to GMB.

2001

2002

2003

2004

2005

2006

Source: Guggenheim Museum Bilbao

The impact on the local economy in 2001 was estimated at EUR168m, a rise from 2000 which stood at EUR149m. Although no data to support the number of jobs created, it is believed that over 4,000 jobs have been created from the project.

11. CONCLUSION The reversal of years of economic decline into an era of economic vibrancy through the construction of a strategically located and relevant iconic building in conjunction with a host of infrastructural development in key areas was vital in bringing back vibrancy and economic sustainability back to the City of Bilbao.

It is important to note the role contemporary architecture played in the evolution of a country’s economic revival in terms of attracting the flow of foreign exchange through tourism activities.

While the success of GMB can be emulated in some cases, it is important to state that the museum in itself wasn't built for having an iconic structure in Bilbao, but a deliberate action to serve as a growth catalyst alongside well thought out strategic developmental programmes.

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Bibliography KPMG (2016) ECONOMIC-FINANCIAL INFORMATION 2015 GUGGENHEIM MUSEUM BILBAO FOUNDATION. Available at: http://www.guggenheim-bilbao-corp.eus/wp-content/uploads/2011/06/ CUENTAS-FUND-EN.pdf (Accessed: 6 December 2016).

Beach, R., Webster, M. and Campbell, K.M. (2005) ‘An evaluation of partnership development in the construction industry’, International Journal of Project Management, 23(8), pp. 611–621. doi: 10.1016/j.ijproman.2005.04.001. bridgeinfo, 2016 (2012) Zubizuri. Available at: http://www.bridgeinfo.net/bridge/index.php?ID=2 (Accessed: 19 October 2016).

Cacace, K., Nikaki, M. and Stefanidou, A. (no date) ‘GUGGENHEIM MUSEUM BILBAO AN EVALUATION OF THE CLADDING MATERIALS’, .

Dabrisiute, J. (2011) ‘Guggenheim museum Bilbao’, . deskander (no date) Categories. Available at: https://www.geniusproject.com/blog/famous-projects/ guggenheim-museum-bilbao-an-architectural-feat/ (Accessed: 19 October 2016).

Economist, T. (2013) The Bilbao effect. Available at: http://www.economist.com/news/special-report/ 21591708-if-you-build-it-will-they-come-bilbao-effect (Accessed: 8 January 2017).

Fathi, N. (2014) Architectural icons as an element of tourist attractions. Available at: https:// issuu.com/nahalfathi/docs/architectural_icons (Accessed: 7 January 2017).

Fire protecting structural steelwork (2013) Available at: http://www.steelconstruction.info/ Fire_protecting_structural_steelwork (Accessed: 19 December 2016).

Garvin, A. (2016) The real ‘Bilbao Effect’. Available at: https://www.cnu.org/publicsquare/2016/09/15/ real-‘bilbao-effect’ (Accessed: 20 December 2016).

George, J. and Peng (2004) APEGGA FastTrack2a 2004. Available at: http://www.ucalgary.ca/uofc/ faculties/ENG/projectmanagement/Jergeas/APEGGA-FastTrack2a-2004.pdf (Accessed: 8 January 2017).

HARVARD DESIGN SCHOOL MANAGING THE CONSTRUCTION OF THE MUSEO GUGGENHEIM BILBAO (B) THE REVISED COST ESTIMATE (1999) Available at: http:// www.uniroma2.it/didattica/ACALAB2/deposito/case_Guggenheim.pdf (Accessed: 28 December 2016).

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Latham, M.S.E., Staff, H. and Great Britain: Department of the Environment (1994) Constructing the team: Final report of the government/industry review of procurement and contractual arrangements in the UK construction industry. 4th edn. London: Stationery Office Books.

Museoa, F.G.B. (2016) The construction - Guggenheim museum Bilbao. Available at: https:// www.guggenheim-bilbao.es/en/the-building/the-construction/ (Accessed: 20 October 2016).

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APPENDIX A PROJECT DIMENSIONS Site:

32,700m2

Gross building area:

28,000m2

Building:

24,290m2

Galleries:

10,560m2

Public space:

2,500m2

Library:

200m

Auditorium:

605m2

Officies:

1,200m2

Museum store:

375m2

Restaurant:

460m2

Cafe:

150m2

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