One of the best opportunities I had this semester was the opportunity to travel alone for the first time. I traveled to Madrid and then onto Bilbao in order to see Frank Gehryâs Museo Guggenheim Bilbao.
I had dreamed of visiting Frank Gehryâs Museo Guggenheim Bilbao ever since I took a Contemporary Architecture class my freshman year of college. In this class, we learned of Gehryâs Deconstructivist architecture. Deconstructivism is a style of postmodern architecture that began in the United States in the 1980âs, characterized by an absence of harmony, continuity, or symmetry. In his Deconstructivist architecture, Gehry confronts conformity with chaos. He creates buildings that are living, breathing, alive.
I was seven the first time I saw a Frank Gehry building. My father took me and my brother to the Walt Disney Concert Hall, which had just opened in Downtown Los Angeles. Even then, I was mesmerized by the massive curves of stainless steel, the light that reflected off of silver surfaces. I chased my brother through the maze of metal and soon became lost in the architecture.
In a sense, I have never become un-lost. Since my visit to the Walt Disney Concert Hall, I have traveled to numerous Frank Gehry buildings in Los Angeles, from his personal residence in Santa Monica to a parking structure he designed in 1980. When I was in Paris several months ago, I even saw his most recent building, the Louis Vuitton Foundation. Yet, I had never seen his masterpiece â the Museo Guggenheim Bilbao. Although, I had once read that its beauty had brought architecture critics to tears.
Spring Break presented the perfect opportunity to visit the Museo Guggenheim Bilbao. I booked a plane ticket to Madrid, which is a six-hour train ride from Bilbao.
Of course, my friends thought I was crazy.
Why would you travel six hours each way just to see a building?
Yet, to me, the Museo Guggenheim Bilbao was more than just a building.
I could not convince any of my friends to join me on my journey, for which I did not blame them. I was, however, able to convince my parents to allow me to travel to Bilbao alone. Thus, I embarked on my first solo trip.
I soon found myself in the Madrid airport. Yet, as I stepped off the plane, I was gripped with an intense panic. I began to question my ability to travel alone. Could I really do this? That night, I fell asleep in my assigned hostel bed with my wallet pressed close to my chest.
The next morning, I decided to explore Madrid. I was too nervous to walk around by myself so I signed up for a walking tour run by my hostel.
On the walking tour, I began to talk to a girl named MarĂa. We were drawn to each other as we were two of the only Americans on the tour. MarĂa lives in Oregon, but she is originally from Mexico. She recently earned her Bachelors degree in the States and plans to go to graduate school next year in Spain. MarĂa told me about the past several weeks she had spent touring schools throughout the country.
After the walking tour, MarĂa and I spent the rest of the day exploring Madrid together. As we parted ways, she wished me luck on my journey to Bilbao the following day.
My six-hour train ride to Bilbao was filled with screaming children and Spanish couples exhibiting too many public displays of affection. As we pulled into Bilbao-Abando at 10:00 PM, I couldnât wait to get off the train. In the train station, I met my Airbnb host, Yolanda. Yolanda was an older Spanish woman, small and thin. I had booked a night in the spare room in her apartment. Yolanda led me through the train station and out into the streets of Bilbao.
There, a Holy Week procession was taking place. Men in strange costumes paraded through the streets. Music came from somewhere far away. Yolanda did not stop to look at the procession. Rather, she weaved through the crowds with dexterity. I had to walk quickly in order to keep up with her.
âDo you speak Spanish?â she asked me.
âNot really,â I responded.
âThen why are you here?â
âI am here to see the Museo Guggenheim Bilbao.â
She nodded. As we walked, we spoke to each other half in English and half in Spanish.
âHow long have you lived in Bilbao?â I asked her.
âSince I was born,â she told me.
âHow do you like it?â I asked
âBilbao is all I know. I am a single mother and I have a son with special needs, so I donât travel often.â
Yolanda then told me that she has seen much change within Bilbao over the past several decades.
In 1991, the Spanish government partnered with the Solomon R. Guggenheim Foundation in order to built a Guggenheim museum in Bilbao's decrepit port area, once the city's main source of income.
The Solomon R. Guggenheim Foundation selected Frank Gehry as the architect. When he was selected, he was told, âMr Gehry, we need the Sydney Opera House. Our town is dying.â
Frank Gehry accepted the challenge. He created a structure reminiscent of the boats that once docked in the Bilbao harbor â constructed of titanium and stone and silver curves.
The Museo Guggenheim Bilbao opened on October 18, 1997. Within its first three years, nearly four million people visited the museum. The revenue earned from these visitors more than paid the building costs.
Overnight, Bilbao went from a dilapidated port town to a bustling cultural destination.
It is what journalist Rowan Moore calls âThe Bilbao Effect.â
I awoke the next morning with knots in my stomach. Today was the day I was to visit the Museo Guggenheim Bilbao. What if it didnât meet my expectations?
I left Yolandaâs apartment, walked along the RĂa de Bilbao, crossed the Puente Zubizuri and there it was â the Museo Guggenheim Bilbao and its silver curves.
As I walked closer to the building, I became consumed in swathes of people. Tourists took photos. People sold art on street corners. A man played saxophone to passerby. The streets of Bilbao, once dilapidated with the disappearance of industry, were now humming alive.
Since the opening of the Museo Guggenheim Bilbao, numerous cities across the world have tried to copy the museum's success. These cities want their own Bilbao Effect. Yet, as museum director, Juan Ignacio Vidarte has said, âThe project was not about the building.â
The Museo Guggenheim Bilbao did not cause the Bilbao Effect. Rather, the Bilbao Effect was caused by the people of Bilbao themselves â people like Yolanda, like the man playing saxophone, like those selling artwork on the sidewalk.
It was the citizens of Bilbao that turned their city into a bustling cultural destination, not Frank Gehry.
I walked around the exterior of the building, examining the famous metal curves. These metal curves were not unlike the ones I had seen all those years ago in Los Angeles. Yet, it wasnât until I saw these curves that I realized what I was truly searching for on this journey: my own Bilbao Effect â some inherent change.
Travel writer Pico Iyer once wrote that travel âshows us all the parts of ourselves that might otherwise grow rusty.â
We travel to find some piece of ourselves.
I had traveled to Bilbao to see The Museo Guggenheim Bilbao, but perhaps I had also traveled to Bilbao to find confidence in myself.Â
Yet, as Thomas Browne wrote in Religio Medici, âWe carry with us the wonders, we seek without us: There is all Africa, and her prodigies in us.â
Perhaps what we search for in our travels has always been inside us. Perhaps we just need to find it.
Throughout my semester abroad, I have traveled to numerous countries across Europe. These travels have changed me immensely. Yet, it was not the cathedrals or the palaces or the art museums that changed me. Rather, it was the journey itself â the planes and trains and missed connections. The journey instilled confidence within me that I am capable of travel, of uncertainty, of overcoming obstacles.
It was here, in front of Frank Gehryâs masterpiece â metal curves humming alive â that I found my own Bilbao effect.