There had been a number of factors that had contributed towards delaying a project that had to be completed in the duration of 16 years. These included the need for modifying the design, need for acquiring extra property, and the rise in the level of costs with respect to the material involved to complete the project that had followed by the end of World War II. When there had been an occurrence of the death of the benefactor of the museum that is Solomon R. Guggenheim, this death had taken place in the year of 1949 that had resulted in further delaying the project (Levine, 2006). Finally, the construction of this building had started in the year 1956 in memory Solomon R. Guggenheim. It has been argued that this museum of Solomon R. Guggenheim is the most important and significant building the late periods in the career of Wright. This monument has said to be taken towards the step of modernism that has been identified as providing a different architecture with respect to space. It has been stated that with the spiral riding of ramp towards a domed light of sky that has been continuously thrilling the visitors and has been providing a different forum for presenting a different and contemporary form of art.
In consideration with the actual sense, the original plans of Wright had been to build the museum of Solomon R. Guggenheim as a tower of ten flows for providing housing to the offices, galleries, storage, workrooms, and apartments with private studies (Ballon, 2009). Mostly due to a large number of reasons with respect to finance, the tower that had been proposed by Wright ended up going unrealizable.
In the year of 1990, the building of Wright that is the museum of Solomon R. Guggenheim had been closed for the public for enabling the procedure for expanding and restoring the major and significant pieces of interiors. After the activity of restoring had been completed, the building had been opened and made accessible for the public that included the entire building of Wright. This had been done by the conversion of spaces that had been utilized in order to store and office the art and paintings that were non objective within the galleries.