The International Conference : Cities’ Identity Through Architecture and Arts (CITAA)
Metaphysics and Identity in Architecture-
Peter Eisenman's Wexner Center for Visual Arts as a Case Study
Houssameldeen Bahgat El Refeie1
1Assistant Professor, Al Shorouk Academy, Cairo, Egypt
KeywordsMetaphysics; Deconstruction; Symbols; Icons / Abstract
The aim of this paper is to discuss the impact of metaphysical content in religion. This includes the visions and perceptions that explain the existence of God (absolute) and the universe, as well as the content of metaphysics and religious beliefs in the formulation and the formation of the identity of architecture. Thus, through critical analysis of artifacts of contemporary architecture, the impact and manifestations of metaphysics in the formation of architectural features and notation can be studied. Therefore, this research chooses Peter Eisenman's Wexner Center for Visual Arts, Columbus, Ohio, USA,as examples to study the relationship between the content of the metaphysical factors and architectural identity in the modern era. The research will follow an analytical methodology to study the terminology and build on the knowledge of semiology. Semiology basically depends on the translation of forms and physical symbols. The research also depends on the philosophy of interpretation and explanation to extrapolate the impact of metaphysical reflection in all elements of design such as horizontal projections and three-dimensional design as well as details and vocabulary left their impact on the drafting process and configuration. The main purpose of the research is to analyze the relationship between the metaphysical content of the religion and the identity of contemporary architecture.
1.Introduction
Metaphysics was the only motive in the formation of ideals and visions throughouthistory. Religions, beliefs, and myths gave answers to the meaning of existence, the universe and the absolute.Those metaphysical beliefs were major in the formation of architecture even though it takes a chronicle attitude in succession from one generation to the next. That is, it takes place consciously through the influences on the human being by education and traditions, and unconsciously by collective memory. Therefore, metaphysical beliefs were responsible for the continuity and the accumulation of visions and expertise.
1.1 Identification of Metaphysics
Metaphysics is one of the philosophy branches that searches for the universe, creation andprinciples of science. It is concerned with the studying thenature of existence, natural phenomena, types of entities, and the formation of the universe. Additionally,Alexander GottliebBaumgartenidentifies metaphysics as(غالي, 2003) "the science which study the first principals for human knowledge, these principals are Ontological (notion of existence), Cosmological (notion of cosmos) psychologicaland theology".
Metaphysics leave its influences on adherents through consecutive generations. It gives the sociocultural regulating principals through the collective memory from one generation to another.
1.2 Branches of Metaphysics
The word “metaphysics” comes from the Greek word (Meta) which means ‘what follows’ and (Physika) which refers to physical and natural researches of Aristotle in old times.All in all, it means the chapters next to which discussion of the physics and nature principals begins.Aristotle did not give the name Metaphysics to his work. Therefore, this does not refer to the classification but to the succession(فرانكلين, 1987).
Aristotle divided Metaphysics to three essential branches besides small parts of natural science. He considersthe traditional branches of metaphysics like the ontological, the cosmological, and the theological. Mankind got all this knowledge from religion, myths and traditions which interprets the natural phenomena and gives the perception of God, existence and cosmos. The three branches form the perception and the cultural identity.
2.Methodologye
From previous research, we understand that man's perception depends on religion and myths told in different waysand languages. In fact, all the mental activities depend on the language that expresses beliefs and feelings(أجروس, 1989). We think, communicate and express through language and words.Semiology focuses on language analysis,especially the meanings. It works onunderstanding and interpreting through signs and hence is able to transfer thoughts from a person's mind to another. This called sign system or "Semiology"." Semiology is the deliberate transfer of ideas and their meanings from one person's brain to another's"[4].
Not only does semiology focus on language, but also on all life communication activities like habits, social traditions, architecture, and poetry. There are two branches of Semiology, one of them depends on language interpretation(Hermeneutics) and the other depends on form interpretation and physical icons. Both branches are inseparable, but every branch has itsmethodology and identity.
2.1Hermeneutics
It's an interpretation philosophy used to understand any text. Hermeneutics philosophy originally comes from reading religious texts. It depends on the critics or the authors intentions and points of view in reading and interpreting an event.
2.2 Semiology
It's a symbols study that focuses on meanings, signs and icons. It aims to get a better understandingof text and language. Since they give meanings spontaneously, people could get meanings and perceptions through signs.
There are different approaches in understanding and analyzing Semiology. In this paper, we depend on Ferdinand De Saussure's interpretation as a base in reading and interpreting signs in architecture. Ferdinand De Saussurecalled Semiology a Theory of Signs. What he meant with the word "Signs" is anything that refers tosomething indirectly or is a reminder of it. That could be through reading text, gesture, form, photo, or a building."Sign is something, anything, which "Stands for" or reminds us of something else"[5].
Saussure discusses the differences between language and speechin the use of words, grammar, and linguistic expression. He discusses how meanings and conversation define man's culture and identity. Saussure goes further and exploreshow language and words that referring to meanings and linguistic expression depend on syntax and the arrangement of words and phrases to create a specific meaning. In example, the word " architect" reminds us of architecture, building, construction and structure.Vitruvius states that "In all matters, but Particularity architecture, there are these two points: the thing signified and that which gives it significance"[6].
2.3Signifier & Signified
Saussure claims that a concept has two components: The Signifier and the Signified. They are connected and twined together to form the "sign", which acts as a reminder of something else. Saussure claims that the signifier is the physical thing which transfers meaning or concept (drawings, picture, building, etc.). The signified is the subjective thing which completes the big picture. Thus, the signifier and the signified are the main factors of any concept. Saussure also claims that the relationship between them is Arbitrary[7]. Additionally, he distinguishes between synchronic studies, concernedwith signs in a specific time and specific location, and diachronic studies, concernedwith studying signs and their evolution across time[8].Diachronic studies depend on a bunch of descriptive chronicle studiesthat compareold signs to new ones, meaning that the chronicle is changing with time(Russell, 1984).
3.Wexner Center for Visual Arts; Case study
Waxner Center for Visual Arts, Colombia, Ohaio, USA,1983 to 1989. This project was designed by Peter Eissnmann. It is one of the iconic buildingsand has a lot of signs and auniqe vocublary that gives it a distinguish form using a three dimension modules in design of indoor and outdoor spaces,especially corridors and paths(Jencks, 1990).Peter Eisenman embraces his own theory about identity,community, culture, and globalization. He is one of the deconstruction pioneers and has his own thoughts about the traditional building and fragments moving together according to cosmos dynamic system(Kolb, 1998).
Eisenman used a multi Grid systemexpressing the interlocking between the domestic and international streams. He interpreted his thoughts to mysterious interlocking grids[12]. Eisenman was inspired by the physical dynamics of planets and used it on multiple levels and multiple layers where he soughta utopia in architecture through aesthetic values of forms and alignment in symphony that match the movement of the planets and orbits(Jencks, 1990).
Eisenman was influenced with the deconstruction philosophy of the French philosopher Jacques Derridawho frequently argues that western philosophy has uncritically allowed metaphorical depth models to govern its conception of language and consciousness. He often sees these unacknowledged assumptions as part of the "metaphysics of presence", to which philosophy binds itself. This "logo centrism", Derrida argues, creates "marked" or hierarchized binary oppositions that have an effect on everything from conception of speech's relation to writing to understanding racial differences. Deconstruction is an attempt to expose and undermine such metaphysics. That is reflected on Eisenman dealing with forms and architecture using double code(Jencks, 1990). Eisenman's study of ideologies and beliefs induced him to explore the user, identity, nationality, and background before starting the design process(Jencks, 1990).
Eisenman always studies the users’ ideologies, beliefs and background (history, religion, political,and social). He interpretsthese factors on different layers using multiplegrids in design process. From his perspective, history has the ability to "trace memory", dig into the ground andsearch in history. Building up is like the future while the site represents the present. All his designs are inspired from this philosophy and history(Jencks, 1990).
3.1 Metaphysical influences in Peter Eisenman's Wexner Center for Visual Art
In the coming pages, we will trace the metaphysical influences on the features and vocabulary of architecture and how they shape the distinguished form of the Waxner Center for Visual Arts.
3.1.1 Theolgical influences
Eisenman applies his philosophy "Symbolic Digging in Site", where he explores the prevailing beliefs in his community. He finds that the Christianty is the major religion,thus he formulates the essence of the Christian beliefs in new symbolic architecture features[17]. This appears through hisinfluences with the “Crucifixion” trgedy scenario. Besides, he announces his passion by the artistic paints addressing crucifying Jesus especially "Crucifixion" for the painter Mathias Gothart.
Eisenman was inspired by thescenario of torture of Christ to present a compination of geometric forms and shifted grids to formulate incomplete forms.The most clear example is the main entrance which symbolizesthe anthropomorphic three dimension for crucifying Christ, he split it into two halfs with worm red color to represent torture and blood of Christ[18].
3.1.2 Cosmological influences
Eisenman was influenced with Christianty and the creation of the universe.In light of these beliefes and thougts, Eisenman inspired the religion icons and turn them into architecture by a number of delibrately awkward and discordant moments complicating the intersection of built space with human occupation[19]. In its concept and process, the Waxner Center is an examplary illustration of Eisenman's unique approch to architecture.
Eiseman gives the major griddivinity and dominance over all vocublary and features. He makes it a dominant item ruling all the indoor and outdoor spaces, usingwhite colors referring to light, trasparencyand shining of God(Eisenman, 1989).
3.1.3 Ontological influences
Eisenman was influenced with Christianty belief and the illustration of the Biblical creation narrative from the book of Genesis in which God breathes life into Adam,the first man. Eisenman announces his influences with the painting by Michelangelo,which forms part of Sistina Chaple.The image of "near- touching hands" of God and Adam has become iconic tohumanity.This painting is part of the complex icongraphic scheme and is chronologically fourth in the series of panels depicting episodes from Genesis(Hamlyn, 1967).
Eisenman magnifies structural elements and makes a strong grid system that dominates the formal language of the building. The urban grids of the city of Columbus and of the university,slightly off-kilter from one another, overlap within this project.The12.5 degrees of variation between the two results in an axial rotation within the museum with corresponding tectonic elements creating jarring moments of intersection as the two systems compete for primacy[22].
4. Conclusions
Metaphysics left their impact on architecture, and it is one of the major factors in forming and shaping architecture vocabulary.
Eisenman was inspired by the Scenario of the torture of Christ and presented a combination of geometic forms and shifted grids to formulate incomplete forms.
Eisenman interpreted the essence of Christianity using different factors on different layers using multiple grids in design process.
Eisenman was inspired by Metaphysical religious icons and turned it into architecture by a number of delibrately awkward and discordant moments that complicate the intersection of built space with its human accupation.
In architecture, signs and icons are used to give a deep dimension to the building scenario.
Eisenman was influenced by the deconstruction philosophy of the French philosopher Jacques Derrida who frequently argues that western philosophy has uncritically allowed metaphorical models to govern the concept of language and consciousness.
5. References
1- وائل غالي ، نهاية الفلسفة ، الهيئة المصرية العامة للكتاب ، 2003، ص40.
2- فرانكلين –ل– باومر، الفكر الأوروبي الحديث، ترجمة أحمد حمدي محمود، ، ج3 ، الهيئة المصرية العامة للكتاب، 1987، ص127.
3- روبرت أجروس ، جورج ستانسيو، العلم في منظوره الجديد، ترجمة كمال خلايلي، عالم المعرفة، المجلس الوطني للثقافة والفنون والآداب، الكويت، 1989. ، ص11،15.
4- news.architecture.sk/labels/architectural%20n…
5-
6-
7-
8- Ibid …………………………………………
9- Russell, Frank, "Mies van derrohe : European Works", Thames & Hudsin, New York, USA, 1984, P.20.
10- Jencks, Charles, "Architecture Today", Edited by: Chaitkin, William, Published by Thames & Hudson, New York, USA, 1990, P. 117 , 118 .
11- Kolb, D. (1998, August 20). Collisions and Interactions: A Philosophical Perspective on CATAC 98. Retrieved February 10, 2017, from
12- architettura.supereva.com/index_en.htm
13- Jencks, Charles, "Architecture Today", Edited by: Chaitkin, William, Published by Thames & Hudson, New York, USA, 1990, P.265.
14- Jencks, Charles, 1990, Ibid, P.250.
15- Jencks, Charles, 1990, Ibid, P.250.
16- Jencks, Charles, 1990, Ibid, P.265, 266.
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20- Eisenman, P., & Trott, R. (1989). Wexner Center for the Arts . Retrieved February 10, 2017, from
21- Hamlyn, Paul, "The Life & Times of Michelangelo" , Published by The Hamlyn publishing Group Ltd, Verona, Italy, 1967, P.16.
22-