| Author: Bhargav Venkatasubbaiah
| Professor: Peter Trummer
| Staedelschule Architecture Class, Frankfurt, Germany
“The reader is the space on which all the quotations that make up a writing are inscribed without any of them being lost; a text’s unity lies not in its origin but in its destination” – ‘Death of the Author’ by Roland Barthes
The idea of the studio was to study a work of one chosen architect along the lines of “death of the author” by philosopher Roland Barthes. The readings of the work by critics and other architects are taken as the base ingredients, completely disregarding the intentions of the actual author, in this case, Peter Eisenman. These base ingredients are then used to conceptualize a new architecture.
Various critics and architects associated the building or part of the Aronoff center to other projects and paintings. Some of them wrote about the similarity between this project and Frank Gehry’s Walt Disney project. Some compared its materiality to the ornamentation of the Louis Sullivan’s prudential building.
Of the many readers who analysed the project, were Sanford Kwinter, Donna Barry, Alejandro Zaera polo, Kurt Forster, Cynthia Davidson, and Henry Cobb.
The main ingredients of the Eisenman Project become the diagrams, Rococo influence for the colours, animated form similar to Walt Disney project, and the idea of ornamentation.
The process was then to formally combine the various readings which was divided into Diagram, Program, Animated and animal like form, Ornamentation and colour scheme.
The final diagram of the Aronoff center is taken as the premise and also the physical context of the project. The diagram is subjected to a multitude of mathematical operations and then a new system of stability or diagram for the project (Braid) is arrived. The program from the brief is then taken and grouped as per the required clear area and combined with the new diagram.
The Walt Disney concert hall and the reptilian reference gives us hints how the program and the skin is separated. The whole composition becomes worm like with a lot of legs when a bulbous mass and a group of columns or pilotis is introduced.
For the ornamentation, indexical cladding is taken from the Walt Disney and the floral pattern is taken from the Louis Sullivan’s prudential building. The colours are then taken from another project of Robert Adam from the rococo period but quite opposite end of the spectrum in colours compared to the Aronoff center.
The project throws light on the accidental encounters between different forms and the figuration of spaces which are a result of a process and beyond human biases. There are Eisenman-like spaces housed within a global Gehry-esque composition.