For example, (References from the essay of Hyun-Cheol Park,2008)
1.The rhombus grid is used in Herzog's Prada Aoyyama Building in japan.
(Photo by Chosun.com)
2.The distortion of the grid system in Rem Koolhaas's Agadir hotel in Morocco
(Photo by El Croquies)
3.The omission and elimination of the grid system in Sejima's Glass pavilion at the Toledo museum of art.
(Image by Archidose)
4.The reiteration of the grid system in Peter eisenmen's the city of culture of Galicia.
(Photo by Arcspace)
5.The emerging grid in Toyo Ito's forum for Music, Dance and Visual culture in Gante.
(Photo by Arquitecturamashistoria)
Dear Dong,
ReplyDeletesome good examples in your post here, but I would still be curious how you define the normal grid you seem to assume as the default. Probably only modernism in its purest form really celebrated a rectangular exposed grid as a conceptual achievment freeing architectural form from its loadbearing duties with the free plan for instance in corbusiers case. So it was celebrated as a breakthrough in abstracting and separating the structural part from the space forming parts. So I think to view it only as a technical limitation for a lack of technology is not doing it justice, after all gaudi's work in its extremely organic spatial structure already existed and was largely dismissed until recently.
So the developments always also reflect a desire for breaking with previous paradigm. So in your proposal I would be curious what your motivation is to study the deformation of the grid, is it driven by the search for the novel or driven by technical interest in extending the vocabulary of whats buildable or is it guided by a different vision for space that puts structural rational second over space?
Axel