ABSTRACT
In this essay, using both psychoanalysis and institutional logics I consider the sources of one of Frank Lloyd Wright’s extraordinary new architectural forms, the Guggenheim Museum first designed in 1943–1944. In my explanation of this innovation, I focus on Wright’s institutional habitations and investments as sources of his design. In this essay, I explore the ways in which the bodily meanings of the architect are materialised within this innovative architecture. To think about the relationship between these two meaningful bodies – that of the architecture and this architect – I draw on psychoanalytic and feminist theory as well as institutional logics. I consider the Guggenheim as a kind of gender performance.
