STUDIO WATER J
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2015, SEMESTER 2, CRIT 2 TARA SHOKOUHI
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CONTENTS 4. HOUSE I 5. Plan (Ground) 6. Plan (Upper) 7. Elevations 8. Sections 9. Axonometric 10. HOUSE IV 11. Plans 12. Elevations 13. Section 14. Axonometric 15. HOUSE I & HOUSE IV ANALYSIS 17. HOUSE I MODEL 19. ANALYSIS OF LATER WORKS 20. Guardiola House 1988 21. Nunotani Corporation Building 1990 22. EISENMAN’S FORMAL RULES 23. DIARY ENTRIES
HOUSE I
The following images are a consolidation of the Group work completed for Crit 1 with the following group members: Amber Barton, Liam Madden-Wellington & Ray Zhang
HOUSE IV
The following images are a consolidation of the Group work completed for Crit 1 with the following group members: Amber Barton, Liam Madden-Wellington & Ray Zhang
HOUSE I & HOUSE IV ANALYSIS
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House I Ground Floor - Natural Light House I Upper Floor - Natural Light House I Ground Floor - External spaces House I Upper Floor - Void Spaces House I Ground Floor - Symmetry & Geometry House I Upper Floor - Symmetry & Geometry House I Ground Floor - Structure House I Upper Floor - Structure Concept designs for House I
10. House IV Ground Floor - Circulation 11. House IV Upper Floor - Circulation 12. House IV - Ground Floor - Form (Subtractive) 13. House IV - Upper Floor - Form (Subtractive) 14. House IV - Ground Floor - Symmetry & Geometry 15. House IV - Upper Floor - Symmetry & Geometry 16. a. House IV - Ground Floor - Natural Light 16. b. House IV - Upper Floor - Void Spaces 17 a. House IV - Ground Floor - Natural Light 17 b. House IV - Upper Floor - Void Spaces
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HOUSE I MODEL
The following images are of the Group model made and used for Crit 1 with the following group members: Amber Barton, Liam Madden-Wellington & Ray Zhang
ANALYSIS OF LATER WORKS 
 a. Guardiola House 1988 b. Nunotani Corporation building 1990
Form (Subtraction)
Layering of squares - created from the displacement and transitions of a single cube
Concept design diagram - ‘Plan h’
Concept design diagram ‘elevation 3’ Solids with voided intersection
Balance and symmetry structure exists within a polygonal boundary
By layering the concept drawings over the plan, it can be seen where Eisenman’s basic architectural shape stemmed from.
Layers of squares/ cubes/lines
Form (Subtraction)
Nunotani Office Building is less symmetrical and perpendicular, with layers and layers of squares at varying angles, creating an almost collapsing styke look. Natural Lighting Multiple layers with rotated central axis
Overtime, Eisenman’s architectural designs began to inhabit more layers, and rotations in building structures and layouts become more evident.
EISENMAN’S FORMAL RULES - Peter Eisenman’s architectural designs are based heavily and -
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primarily on the form of shapes. Eisenman’s argument is that reasoned and unbiased thoughts can supply a conceptual and formal basis for any type of architecture. There is no interest in the segregation of modern forms but rather the language and arrangement of geometrical solids and absolute points of reference for any type of architecture. Eisenman is less concerned with the overall functionality of a structure for humans, and focuses on questioning the core of modern architecture. He challenges the generic ‘white cube’, and uses distortion to create iterations Distortion is an effect that was created by systematically adding further shapes in a way that clashed unstable forms Eisenman beieved that architecture ‘should cleanse itself of all obligations dictated by function, place, technique, or program, and address only those formal principles that helped solve the constructional problem in question’. The Architecture Tools predominantly used by Eisenman include the following: - Rotations - Arraying - Offsetting - Stretching - Montaging - Grid - Panelling - Slippage - Mirroring - Volume articulation
- Through creating a clash in shapes, Eisenman birthed a range of -
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relationships betweens solids, voids and transparency that were the focus of his architectural structures. Eisenman’s ‘Deep structure’ was a means through which he strived to investigate the notion of visual syntax. The nature of such an exploration stemmed from his Interest in language and semiotics His designs here, were composed of; a floor plan arranged by grid lines and a structural framework with round columns. After being projected in three dimensions as spatial cube volumes on which and throughout were set a series of layered planes. In Eisenman’s earlier designs, the series of planes within his drawings ran perpendicular to one another within the confines of the cube, however, in his later works some planes were disjointed by rotations in the plane’s grid. Eisenman transitioned from pure geometry to, examining scalar geometry Following his interests in ideas presented by scientist and mathematician Benoit Mandelbrot, Eisenman extracted what he referred to as ‘traces’, that is; lines or echoes from other sources that may be recognised within any aspect of a design issue. Deconstruction became a significant part of his later work also
DIARY ENTRIES