PETER EISENMAN IN TOKYO: KOIZUMI LIGHTING THEATER
Peter Eisenman"One time, I realized that in a project, a door was only 40 cm wide. When the client came to me complaining, I just told her, 'Ma'am, this is not a common door, is a door for you to enter on your side '. The client left very satisfied . "Peter Eisenman
"... In fact, the process breaks out, begins with a diagonal movement giving rise to multiple readings and the deployment of a syntax that can be rigorous, but the first movement, the original impulse is something unexpected, arbitrary, something that is entirely in the hands of the architect. (...) Thus, despite the fact that Eisenman is trying to provide a rigorous manipulation of the architectural language, he is forced to admit that the first impulse is gratuitous, without any connection to the outside world in which the architecture will be built. "
"Instead of a single author, there are two authors who do not cooperate together, but work separately, to deny the notion of a uniform composition. Working separately, they blurred the signature of the author, the author's hand."
For both proposals to meet, it was necessary to have a unitary structure to house the different parts and form a single project.
"A structure houses the external elements that are stapled to it. They have no purpose in themselves, nor in terms of place nor in terms of functional program nor with the relationship established with the host structure. They are the result of an arbitrary decision. "Therefore, despite the dynamic appearance of the fractured surface, it is possible to perceive a geometric order when walk around the building. Or, said in the opposite way, despite being a clear and rational grid as a basis, this never becomes repetitive and is different on each floor due to those elements that pollute it.
A large atrium of monumental proportions gets us into the building. Some bridges cross diagonally space, not only to give some this 5-story space a human scale, but also as a prelude to the looming spatial distorsion.
"Just as the introduction of a grain of sand inside an oyster produces a pearl, then the introduction of abnormal elements can occur causing the transformation of internal and external spaces of a structure. A graft can also change the nature of a traditional office building . "
"No floor is completed, there is always a textual opening elsewhere, above or below. Each space is part of a misunderstood text, in which there is the possibility of multiple reading. And at every level of evolution the signs create the conditions that determine the texts and make them readable. "
This project received an Honor Award American Institute of Architects AIA in 1991.
- Eisenman 1960/1990. Conceptual architecture for Textual Architecture. Fabio Ghersi.