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The Creativity Of Artwork In Architecture

The essay investigates the ideas of skill in structures and the links and interchanges between them in the late sixties and early on seventies with focus on the exchanges between conceptual artwork and architecture. The essential assumption of the article is usually that the thorough conceptualisation that characterised conceptual artist was moved into some advanced architectural methods during the late sixties and early seventies. In addition, it talks about about the guidelines on which the inspirations are carried further to design process in terms of project conditions. In this process of transforming the art work to a design, it moves through the procedure of adding architectural characteristics. So the essay looks for, how further is the design taken of course, if it still gets the essence of the original art that it was encouraged. The written text examines relationships and differences between artist Sol Lewitt and architect Peter Eisenman in guide with some of Eisenman's past works and argues that this discussion is still highly relevant to current practices discovering the potentials of digital centered design through the use of parametrics, scripting etc.


"Design should do the same thing in everyday activity that art does when encountered : impress us, frighten us or please us, but certainly open up us to new worlds within our daily living. " 1 - Aaron Betsky

While both art work and design is capable of doing a similar role, there's a distinct difference between your two. Art is unladen by boundaries, whereas design takes on the added responsibility of carrying out a function. The challenge of design is to meet the lofty ideals of art work while remaining utilitarian. The artist's work free of practicality is more agile and in a position to freely explore ideas and ideas that will start us to new worlds. Painters are the researchers who research and test ideas; designers will be the engineers who translate those discoveries into everyday life.

Architects, as designers of spaces, can learn valuable lessons from musicians and artists. The same ideas which may have been analyzed and found successful in artwork can become a part of the built environment. You will want to have colorful buildings that explode naturally like Dale Chihuly's cup works? i1

If nothing at all else, looking at art should remind architects of the imaginative possibilities of architecture. That is especially important today, when architecture tends too greatly toward power.


"I'll refer to the type of art where I am involved as conceptual art work. In conceptual artwork the theory or idea is the main aspect of the task. When an artist uses a conceptual form of fine art, it means that all of the look and decisions are created beforehand and the execution is a perfunctory affair. The theory becomes a machine that makes the art. This kind of art work is not theoretical or illustrative of ideas; it is intuitive, it is involved with all types of mental operations and it is purposeless. It really is usually clear of the reliance on the skill of the artist as a craftsman. It's the objective of the musician who is concerned with conceptual fine art to make his work mentally interesting to the spectator, and for that reason usually he'd want it to be emotionally dried out. " 2 - Sol Lewitt

By Conceptual skill After all work that firstly makes the "immaterial" ideas define its artistic ideas and than extra its object position and approach to creation. By conceptual architecture After all that work which attempts to do what conceptual fine art does while keeping some of the distinctive characteristics of structures.

Sol Lewitt (1928-2007) was a painter and sculptor who helped set up Conceptualism as a dominating art motion in the post conflict time. He was chosen for this study, first of all, because he previously a similar romantic relationship with his works that an architect does; he designed the parts but entrusted their execution to others. This distance recommended his works were less reliant on rendering techniques to achieve success. In this regard, his works are a step nearer to structures than many musicians and artists. Another reason LeWitt was determined was his fascination with a conceptual fine art, rather than a perceptual art. Just how his pieces looked was important, however, not as important as the concept that created them. Architecture deals with environments, which are inherently perceptual, so moving to a conceptual knowledge of architecture, appeared to be an interesting task and worthwhile pursuit.

Many of Sol LeWitt's works were never seen by the musician until their exhibition. As an musician he was innovative in that he rarely carried out his own works, due to the fact it was pointless. Sol LeWitt's written instructions for his wall structure murals are specific about how exactly they are to be produced. For LeWitt, the role of the artist is to generate the concept not the thing, or in other words, the concept is the artwork.

Applying the thought of a conceptual artwork to architecture can be a significant task. The wellknown American architect and theorist Peter Eisenman talks about the troubles succinctly:

"It is possible to say that while a conceptual artwork and a conceptual structures could be similar in an idea talk about, there can be an inherent difference as it pertains to the noticed object. In which a conceptual art subject can stay in a more natural condition, for example as a mathematical notation, built structures takes on ethnic, pragmatic, and semantic references. Thus the conceptual facet of an architecture cannot be defined with what is conceptual in, say, painting and sculpture. "11

These thoughts are mirrored by Sol LeWitt: "Architecture and three-dimensional artwork are of completely reverse natures. The ex - can be involved with making a location with a particular function. Architecture, whether it's a work of art or not, must be utilitarian if not fail completely. Fine art is not utilitarian. When three-dimensional art starts to defend myself against a few of the characteristics, such as building utilitarian areas, it weakens its function as art. "12

Is it then inappropriate to produce architecture based entirely on concept? Particularly when the energy of the space is jeopardized? If utilitarian concerns are allowed to alter or compromise an area, both Eisenman and LeWitt would agree that work is no more conceptual. To avoid compromising the imaginative strategy both LeWitt and Eisenman have decided to make fine art instead of structures. The difference being that Eisenman insists on using properties as his medium; properties which must to some extent lend themselves to the uses that they were made. By turning his rear conceptually on electricity, and yet and can happen, his concepts are polluted by the interference.

"Conceptual artwork is not necessarily logical. The reasoning of a bit or group of pieces is a device that is employed at times, and then be ruined. Reasoning may be used to camouflage the real intent of the designer, to lull the viewers into the notion that he knows the work, or to infer a paradoxical situation (such as logic vs. illogic). Some ideas are logical in conception and illogical perceptually. The ideas do not need to be sophisticated. Most ideas that are successful are ludicrously simple. "16

The interesting thing is that this irony is really the only important substance behind the task. When LeWitt talks about wanting the viewers to understand the concept behind the work, it would appear that "the concept" is simply the group of rules that led the actions. Sensing the rules is certainly "mentally interesting", but only presents another part of subjective decisions leading loaded into the task. This superficial level of "meaning" is seen in the task of several modern day architects including Peter Eisenman's superimposed lines of effect.

Conceptual art's focus on process during the '60s was an effort to banish a number of conventions around the task of fine art: art as reified totem, art as static condition, visual formalism, the manual contribution of the musician to the task, and so on. However, the invocation of artwork in architecture possessed a rather different series of concerns. For example, Peter Eisenman's citation of process art techniques in his early house jobs, while invoking LeWitt's ideas, was in the end attempting to mimic his varieties.

Conceptual architecture during the '70s thus neatly overlapped the International Style, minimalist appearance, and conceptual art work strategies. Borrowing from Sol LeWitt's and Lawrence Weiner's quarrels on the primacy of the producing idea over its materials properties, Eisenman's idea associated with an "autonomous" architecture privileging form over structure gained currency in critical and academics circles.

Sol LeWitt here identifies his differentiation between art work and architecture: "Architecture and three-dimensional fine art are of completely opposite natures. The ex - can be involved with making an area with a specific function. Architecture, whether it is a work of art or not, must be utilitarian if not fail completely. Artwork is not utilitarian. When three-dimensional art starts to take on a few of the characteristics of architecture such as developing utilitarian areas itweakens its work as art. Once the viewer is dwarfed by the top size of a piece, this domination emphasizes the physical and emotive electric power of the form at the trouble of losing the idea of the part. " In other words, art work that becomes utilitarian does not make it "architectural, " only less convincing as fine art; similarly, architecture that denies its utilitarian, useful nature is vulnerable architecture.

In responding to these questions I have sought to investigate and elaborate upon a previously recognized correlation between Eisenman's work which of conceptual designers, Sol LeWitt in particular. The intro of conceptual art raises issues of value in respect of the done piece. That is it would seem to be that in work of a conceptual characteristics, the 'idea', can only just be hindered by the living of your final piece. The question that often develops is the reason why, given the discord it causes, bring the 'idea' to a physical fact? If, as is usually the case, it is regarded as necessary to appreciate the thing what, if anything, should come with the task to facilitate its understanding?

During this era we find a particular successful exchange of ideas between designer and architects that continues to be highly relevant to current cosmetic thinking. The target here is mainly on the architectural effects and potentials of these exchanges (1). It is possible to argue that an unbroken lineage of architectural thinking and designing goes right up to today. A number of current architectural practices that explores digitally founded working methods seems to face some of the same conceptual and visual obstacles that conceptual artist such as for instance Sol Lewitt was discovering. This article will try to point out a few of the still dynamic and relevant questions. The purpose of this investigation isn't just to give an accurate account of an historically situated group of ideas. It is merely just as much a starting place for an creative development work that is fuelled by the investigations. This work is briefly presented at the end of the article. It is not to be seen as a remedy or a realization to the questions that is elevated during the article. The aim is rather to suggest a procedure for architectural research that includes academics as well as design centered research without one part being seen as a justification for the other, but hopefully rather instigates a effective gap between the two.


" What makes architecture conceptual is that unlike fine art, it demands not only the primacy of motive to take something from the sensual to the intellectual realm, but also that intention be there in the conceptual composition; again, whether it is built or not, is not at issue. " 1 - Peter D. Eisenman

Design Quarterly, No. 78/79, Conceptual Structures (1970), pp. 1-5Published by: Walker Skill Center


This section explores three concepts integral to the work of Sol LeWitt: Strategy, Series, and Reductivism.

"In conceptual art work the theory or theory is the most crucial aspect of the task.

When an musician uses a conceptual form of art work, it means that all of the look and

decisions are created beforehand and the execution is a perfunctory affair. "

- Sol LeWitt


Ulrik Schmidt has described the characteristics of nominal art work as 'objectivity, non-illusionism and certainty, an abstract-concrete appearance as well as non-expressionism and non-anthropomorphism' using 'key points of unity and uniformity, non-relationalism, instrumentalisation and, more profoundly, repetition'. (2) Schmidt traces a desubjectivation in minimalist art work. he describes an approach to the work of art where the designer withdraws from directly influencing the task of art work, creating, as Lewitt says it, a predicament where 'all of the look and decisions are created beforehand and the execution is a perfunctory affair'. Through much modernist thinking operates a pastime in objectivisation. Little art could be observed as the logic--and extreme--conclusion of a few of modernisms basic assumptions, as well as an inherent criticism of the assumptions. (3) To a certain extent one might declare that this parting of conceptualisation and execution is how architects have been working at least because the academisation of architecture in the renaissance, when architects became detached from the directly engagement in the realisation of the works they designed. definitely the little arts movement investigates the consequences of this separation of conception and execution much beyond the common architect, but it could still be one of the reasons for the prolific transfer of ideas from nominal art to structures. Another reason could be that the formality and use of geometry that one find in the tactics of musician such as Sol Lewitt or Robert Morris might have certain affinities to architecture. In any case there appears to be a parallel affinity for conceptually articulated, organized manipulations of form of these music artists and the architectural designs of Peter Eisenman and likeminded architects such as John Hejduk, Michael Graves and Richard Meier through the past due sixties and early on seventies. You will discover for instance obvious common features between Lewitt's fine art and Eisenman's architecture (Werner Petersen 1990: 19).

Lewitts drawings and sculptures are produced through rule based mostly, clear-cut transformations of simple geometrical results. The group of transformed figures are systematically organised in matrixes that conclusively describes all the possible combinations of the operations. In this way the works of Lewitt seems to explore a issue between the clear logic of the formal procedures and the obvious purposelessness of the effect. Everything about the procedure is explained and understandable yet the result seems to be without inherent so this means, at least if so this means is known as a particular perception or sensibility portrayed through the work.

Something similar characterises Peter Eisenmans early projects. They may be perhaps less abstract, as they are based on a recognisable modernistic vocabulary utilising the formal analyses Eisenman manufactured from modernist architects such as Terragni (Eisenman 2003). However the complicated decomposition of Eisenman essentially explores an identical and deliberate insufficient inherent interpretation, even although projects are in once paraphrasing, praising and mocking their modernist history.

It appears to be an important point that the operations and transformational reasoning is readable in the task. In Sol Lewitt's 'Versions of incomplete open up cubes' from 1974, every possible blend of the available cube is created and presented in a comprehensive scheme that makes it possible for anyone who care to check, that all variations are present. This inclusive logic, where every possible variance of a finite group of possibilities exists without differentiation, is ways to eliminate any form of subjective choice or design decision from the realised work.

One finds a similar reasoning in Eisenman's early on architecture. 'house II' from 1969-70 runs on the nine-square grid that allows for a highly systematised group of transformations and superimpositions of columns, surfaces and quantities within the grid. Eisenman's design process is actually more complex than Lewitt's. In Lewitt's art work pieces the placing your order principle is mainly immediately readable. It issues didactically to the reasoning that has built the piece. Eisenmans process is more convoluted and probably only directly traceable by discussing the laborious sophisticated drawings that go along with the published job, even though the realised project exhibits obvious traces of the process. This difficulty might be partly relating to the requirements of an habitable composition. But moreover it is most likely related to a exploration of the syntax of architectural space. For Eisenman geometry is not an abstract spatial system. It is already imbedded in a architectural traditions and Eisenman uses the organized spatial transformations to break down preestablished notions of spatial company in structures. (4)

Sol Lewitt seems to employ a more innocent notion of geometry. In his work geometry seems to be perceived as an abstract system without connotations. It mainly acts as a car that allows basic conceptual suggestions to enter physical form. The properties and rules of geometry make it possible to build up and translate general principles. Lewitt's consistent use of cubes might be comprehended as part of this process. The orthogonal perspectives and equal length of the attributes of the cube will not make reference to an idealised geometry, but is quite considered as a default option uninfluenced by specific conditions or contexts. The white shades and private materials further support this notion, hinting at standardisation and industrialised creation. But even if this notion is easily understandable you can question whether Lewitt is successful in completely breaking any connotations and relations. The cubes might after all still refer to previous notions of a connection between ideal geometries and important form--a frequent perception throughout the annals of architecture. Even when these connotations are unintended by Lewitt, the obscure recognisability might still be an important part of the fascination of his work. (5)

The project that accompanies this article is part of an ongoing research by design job by the writer. It could be regarded as a realization to the written text. In this case it could of course not be grasped as a summation of the conclusions of the paper and placing these findings into perspective of already existing research. It could rather be considered a conclusion in conditions of trying to establish a relation between an evaluation of and reflection on an existing body of work and a fresh work that tries to explore and expand a few of the studies of the research. In this manner the accompanying task could be considered as a continuing exploration of a few of the conceptual and formal questions brought up in Lewitt and Eisenman's works. The work is based on a formal exploration of a nine-square grid. This exploration is structured over a combinatory group of objects predicated on an adapted 'menger sponge'--principle (Fig. 1)6. Instead of taking away the central cube of every nine square grid in each step just as the initial menger sponge, the task removes some other variety of cubes atlanta divorce attorneys iteration. This logic can be explored in different ways. Fig. 2 explains a transformative series predicated on three iterations where the first iteration eliminates two cubes, another four and the previous one. In this case it is possible to remove four cubes in 12 different ways from the nine-square grid (with the precondition that the variants are limited to those that are symmetrical along a vertical axis). This produces a series of 12 different cubic items (Fig. 3) that unfolds the possible modifications. This series is then subsequently one of some the six possible ways the three iterative levels can be put together (1-2-4, 1-4-2, 2-1-4, 2-4-1, 4-1-2 and 4-2-1) leading to 72 different objects (see Figs. 4-6 for good examples).

It is using the didactic way of Lewitt where in fact the formative reasoning is immediately accessible and readable. Rather than Peter Eisenman's critical dissection of the formal syntax of modernist architecture or Lewitt's exploration of the concept as artistic motor unit it tries to explore the proliferation of formal organisations made possible by systematised operations. The resulting things are as purposeless as Lewitt's sculptures. But at exactly the same time the cubic figures and hierarchically nested geometries ideally hint at architectural or perhaps rather protoarchitectural potentials.



Peter Eisenman You'd be better competent to answer that question than I'd. The vitality of Terragni permeated my early work; House I is obviously Terragni, but House II is a lot more influenced by, say, Rosalind Krauss's writing on modern art at that time and the idea of sculpture in the expanded field and the task of minimalist sculptors Robert Morris and Sol LeWitt. By House II, Krauss and I were working closely-she eventually wrote "Notes on the Index" in October 3 and 4, which became key to House IV.

The Wexner Center at Ohio StateUniversity by Peter Eisenman can be an exam-ple of your building that exhibits characteris-tics determined by the platform of thekit-of-parts problem. It is a spatially com-plex building that savings the materialfacts of the structures except as they serve as "signs. " The richly overlappingspaces, whether implied by frames orplanes, are defined by colored gypsumboard and off-the-shelf acoustic ceilingsystems. Brick is selectively deployed to al-lude to pre-existing complexes on the webpage(in a series of faux ruins), however, not for itsmaterial features and uses. The programcontent of the building is not the drivers of design development; the form of thebuilding is instead a result of the selectivemapping of "physical makes" on the website, resulting in an itinerary that is choreo-graphed both inside and outside the build-ing. The overlap of fighting spatialsystems is made by two axes that existon the campus; the program/content andthe constructional reasoning play relatively mi-nor assignments in the design. Perhaps it is therelative disregard for the grade of thebuilding materials and details that makesthe Wexner Center so decidedly postmod-ern in figure today. If the underlying moti


"Serial compositions are multipart bits with controlled changes. The dissimilarities between the parts will be the subject of the composition. If some parts continue to be frequent it is to punctuate the changes. "22

- Sol LeWitt

The primary approach to communicating the idea in Sol LeWitt's work is the use of series. By presenting items in series, any difference between the objects immediately becomes the target of the piece. If three varieties are equal in all respects, with the exception of height, the viewers automatically assumes that the level is the focus.

Works in series really can only be valued when viewed alongside one another as a series. A direct request within architecture therefore would most normally happen with a group of structures in close closeness. This may be on the level of a college campus, a business area, or several small constructions on a residential lot. The difficulty is that most structures is developed on the basis of an individual building at a time. Where more than one building is employed the size of projects could make it difficult to discern the variations. It may be necessary to present smaller range elements, such a building details, which provide hints about the bigger steps within the grouping.

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