What Used to Be on the Site of the Wexner Center for the Arts the Armory Columbus Oh
AD Classics: Wexner Heart for the Arts / Peter Eisenman
Before it was even completed, New York Times critic Paul Goldberger dubbed the Wexner Heart for the Arts "The Museum That Theory Congenital." [ane] Given its architect, this epithet came as no surprise; Peter Eisenman, the museum's designer, had spent the better function of his career distilling architectural class downwards to a theoretical scientific discipline. It was with tremendous apprehension that this building, the commencement major public work of Eisenman's career, opened in 1989. For some, it heralded a validation of deconstructivism and theory, while its problems provided ammunition for others who saw theory and practice equally free but ultimately divergent pursuits. The building's pop reception has been every bit mixed, but its influence and intrigue in the bookish community is as pronounced and unmistakeable as the design itself.
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Located on the eastern edge of The Ohio State University'due south campus, the Wexner Center was built to arrange a multidisciplinary space for the exploration and exhibition of contemporary fine art. The $43 million commission was the object of a high-profile 1983 competition that featured Eisenman, Michael Graves, Cesar Pelli, Kallmann McKinnell & Wood, and Arthur Erickson as finalists. To the surprise of many, Eisenman won the contest despite his relative inexperience with large-scale buildings, though his choice resulted in no less publicity for the museum. His widely respected name alone carried the museum's opening, which didn't even feature artwork and so as to not distract from the compages. [2]
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In its concept and process, the Wexner Eye is an exemplary illustration of Eisenman's unique approach to architecture. While non entirely disconnected from its context, the building is for the most part a self-realizing and democratic work, creating its own unique and self-contained methodological process and architectural vocabulary. The museum purports to make no apologies for its unorthodoxies; quasi-historical quotations reference architectural tradition only to boldly turn down it. Formal devices deprived of functionalist purpose disavow spatial convention. And a number of deliberately awkward and discordant moments complicate the intersection of congenital space with its human occupation. For Eisenman, these are among the great successes of the edifice, as they manifest the discourse of deconstructivist emancipation into actualized form.
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As in much of Eisenman's work, strong grid systems boss the formal language of the edifice. The urban grids of the metropolis of Columbus and of the academy, slightly off-kilter from one some other, overlap inside the project. The 12.5 degrees of variation between two event in an axial rotation inside the museum, with corresponding tectonic elements creating jarring moments of intersection as the two systems compete for primacy. The collages Eisenman prepared to visually depict the project illustrate the tension of the competing grids and revel in an interstitial ambiguity that finds imitation in the actual building. As a marketing pitch, all of this amounts to a clever interplay of campus with community, but as an architectural strategy, it creates a formal trope from which the diverse systems of the building are able to emerge.
Running through the core of the building is the Wexner Center's nigh recognizable feature: a 540-foot long "scaffolding" structure that extrudes the planar grid systems into a 3-dimensional matrix. Exposed and partially unenclosed, information technology is meant to wait deliberately incomplete, repudiating preconceptions of solid and void as fixed properties of architecture. While this seam in the building functions equally an axis of apportionment, it plays a more important spatial role by delineating and projecting organization throughout the site. The resulting interrelationships discover expression in the contours of the surrounding structures and landscaping, strikingly recalling the diagrammatic constructions of the contemporaneous Getty Center in Los Angeles by Eisenman's geometry-driven cousin, Richard Meier.
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As well prominent on the museum are a set of red brick turrets that dramatically disharmonism with the hyper-mod aesthetic of the scaffolding. They are allusions to a medieval-style arsenal that was bulldozed to brand room for the museum, an eerie tribute to construction's destructive side. More than meaningfully for the architecture, they are fragmented elements of historicity, dissever and carved apart in a way that renounces the importance of precedent far more than than honors information technology. They are one part of the complex constructing of elements and quotations that give the building as of the collage-similar feeling reflected in Eisenman's trademark drawings.
After the museum's completion, the building was plagued with a series of construction and pattern problems that tarnished its public image. Unfortunately for deconstructivists everywhere, these flaws appeared to be the result of an ambitious design with an intentional disregard for the practical considerations of traditional architects—a foundational axiom of the doctrine. In 2003, the building underwent an invasive, three-year renovation, only fourteen years after its christening. Every bit it approaches its twenty-fifth ceremony next month, it seems that most of these issues have been overcome. History, however, should go on to recall them in the context of this great museum as a testament to the toll of translation betwixt theory and actualization.
[1] Goldberger, Paul. "The Museum That Theory Congenital." The New York Times, five Nov. 1989. Retrieved five October. 2014 from http://www.nytimes.com/1989/11/05/arts/compages-view-the-museum-that-theory-built.html?src=pm&pagewanted=2.
[2] Id.
- Yr : 1989
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Cite: David Langdon. "AD Classics: Wexner Heart for the Arts / Peter Eisenman" 17 October 2014. ArchDaily. Accessed . <https://world wide web.archdaily.com/557986/advertizing-classics-wexner-center-for-the-arts-peter-eisenman> ISSN 0719-8884
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Source: https://www.archdaily.com/557986/ad-classics-wexner-center-for-the-arts-peter-eisenman
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