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Assessment Task 1: Mini Essay

History of Western 20th C. Architecture Tianchang Huang, s3629040 Tutor: Belinda Grant

Question: Referring to critical writings and between 1 - 3 design projects from the 1980’s by these two architects (or others from this group), analyse the projects in terms of how their key ideas are translated into formal and spatial arrangement, a multiplicity of architectural and non-architectural references, layering of semi-autonomous architectural, urban and contextual systems.

Response: Peter Eisenman is committed to architecture that prioritises content above form and allows him to express himself more freely. He considers architecture more than simply aesthetics; it is also about economics, politics, and history. 1 This essay is to analyse and compare two projects of Peter Eisenman: Aronoff Center for Design and Art, and Koizumi Sangyo Corporation Headquarters Building, from critical ideas from a poststructuralist perspective.

1.

Spatial Arrangement In developing out from the interior of the Koizumi Building, the structure mirrors the features internal and describes the manner of producing, marking, and reading space.2 The spatial interplay of the other outcomes in grids (Fig.1 ), each of which might be façade remnants. Unlike an average workplace building, wherein every ground is the same, something precise takes place on every ground here. No ground is closed. There is mostly a textual hyperlink to every other location, both under and above. Simultaneously, there may be a want to occupy the shape and understand it as a chain of various and variable circumstances in place of an unmarried aspect or an unmarried interpretation.

Figure 1 Drawn by T Huang

For Aronoff Centre, the "mechanical paradigm" of physical structure has architecturally given way to the "electronic paradigm" of the information superhighway and "virtual reality headgear," according to Eisenman. He claims that "virtual reality provides a new reality possible."

A "communication location" will replace "actual places." This project aims to achieve some resemblances to virtual reality or the emotional sensation of being there, although not being physically present. The Aronoff Center aims to induce emotional connection by flipping inward, creating a mystical sensation of 'turning inside out.'

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a multiplicity of architectural and non-architectural references Scaling and self-similarity became tools to play with grids or any unit to conceal any compatibility and deconstruct any continuous rhythm, such as in Koizumi Sangyo Corporation Headquarters Building.

The existing building abstracted from cubes and the weak form of ‘EI shapes’3 cube (Fig. 2) Produced by intersecting two squares each other, also the intentional fragmentation of units and grids aims at causing chaos, disturbance, and instability, to create something from within instead of imposing anything new from without. Within the post-war curtainwall building tradition, there is the possibility that inserting anomalous features could explode and cause both the interior and exterior of the structure to collapse and the exterior of the structure to be altered, similar to inserting a grain of sand into an oyster to cause it to produce a pearl.

Figure 2 Drawn by T Huang

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Seunghan Paek (2018) Fold as a Non-spectacular Event: The Cases of Peter Eisenman′s RebstockparkMasterPlan (1990-1991) and TheAronoffCenterforDesignandArt (1988-1996), Journal of Asian Architecture and Building Engineering, 17:3, 385-392, DOI: 10.3130/ jaabe.17.385 2 KOIZUMI SANGYO CORPORATION HEADQUARTERS BUILDING, Eisenman Architects, https://eisenmanarchitects.com/Koizumi-Sangyo-Corporation-Headquarters-Building-1990 3 Marie-Pascale CORCUFF, FORMS,SHAPES, DIAGRAMS, AND GENERATIVE PROCESSES, ebook, 1st ed. (Rennes: Ecole Nationale Supérieure d’Architecture de Bretagne, 2010), https://www.generativeart.com/on/cic/GA2010/2010_22.pdf.

Assessment Task 1: Mini Essay

History of Western 20th C. Architecture Tianchang Huang, s3629040 Tutor: Belinda Grant The form of the Aronoff Centre is intriguing, with abstract shapes and prominent use of grids. These characteristics place the construction solidly in the lineage of contemporary architecture, reiterating the modern principle that form should be decided by objective elements such as function or structure. As a type of passive violence, the architecture mocks objectivity.

As the exploded axo diagram shown (Fig.3 ) ,the structure is unique, with abstract forms and heavy usage of grids. These features firmly position the structure in the lineage of contemporary architecture, emphasising the modern notion that form should be determined by objective components such as function or structure. The architecture mocks objectivity as a form of passive aggression.

Figure 3 Modelled by T Huang

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The layering of semi-autonomous architectural, urban, and contextual systems.

Tokyo city places a greater emphasis on high-rise residential housing and urbanisation nowadays; in order to make the most of the area they occupy, new structures have been erected at greater heights. Simultaneously, Japanese clients brief Eisenman on high visibility and taking design risks.4 The insertion of “two grain of sands” 5 are methiodal alike to Nakagin Capsule Tower (Fig.4), where each living cell are be assembled individually, meanwhile in Koizumi building the El shape geometry of the insertion are be treated solely in a poststructuralist manner.

Figure 4 Modelled by T Huang

On the other hand, Aronoff Centre for Design and Art has a complex history of artistic expression that brought this magnificent artefact into visitors' sight. The main component of the project, an 800-foot-long underground concourse, is meant to represent a clash of several disciplines. The concourse serves as a conventional circulation spine, connecting the various regions of the construction. Form, however, does not necessarily follow function. Instead, it looks that the reverse is true: classrooms, auditoriums, a library, a canteen, and an art gallery are packed into a space built seemingly as an afterthought.

In conclusion, both precedents are Eisenman’s attempt on using grids and geometry division to turn interior outside in a deformation manner that represents “form here does not follow function”6. The difference is Koizumi Building is narrative in an urban context meanwhile Aronoff Centre serves more for history purpose.

Bibliography 1. The Aronoff Center For Design And Art At The University Of Cincinnati: Simulating Reality, H Chitwood, 1995, B.S. Georgia Institute Of Technology 2. Adams, Tim. The Eisenman-Deleuze Fold. 1st ed. Vol. 1. The University of Auckland, 1995. https://www.academia.edu/2011373/The_Eisenman_Deleuze_Fold.

3. ARCHITECTURE Incorporating Architectural Technology. 1990. 1st ed. AMERICAN ARCHITECTS ABROAD.

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ARCHITECTURE Incorporating Architectural Technology. 1990. 1st ed. AMERICAN ARCHITECTS ABROAD. KOIZUMI SANGYO CORPORATION HEADQUARTERS BUILDING, Eisenman Architects, https://eisenmanarchitects.com/Koizumi-Sangyo-Corporation-Headquarters-Building-1990 6 Herbert Muschamp, “ARCHITECTURE VIEW;Eisenman’s Spatial Extravaganza in Cincinnati,” The New York Times, July 21, 1996, sec. Arts, https://www.nytimes.com/1996/07/21/arts/architecture-view-eisenman-s-spatial-extravaganza-incincinnati.html.

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Assessment Task 1: Mini Essay

History of Western 20th C. Architecture Tianchang Huang, s3629040 Tutor: Belinda Grant

4. CORCUFF, Marie-Pascale. FORMS,SHAPES, DIAGRAMS, AND GENERATIVE PROCESSES. Ebook. 1st ed. Rennes: Ecole Nationale Supérieure d’Architecture de Bretagne, 2010. https://www.generativeart.com/on/cic/GA2010/2010_22.pdf.

5. Eisenman, Peter. "Koizumi Sangyo Corporation Headquarters Building 1990 — EISENMAN ARCHITECTS".

Eisenmanarchitects.Com, 1990. https://eisenmanarchitects.com/Koizumi-Sangyo-Corporation-HeadquartersBuilding-1990.

6. Muschamp, Herbert. 1996. “ARCHITECTURE VIEW;Eisenman’s Spatial Extravaganza in Cincinnati.” The New York Times, July 21, 1996, sec. Arts. https://www.nytimes.com/1996/07/21/arts/architecture-view-eisenman-sspatial-extravaganza-in-cincinnati.html.