Shuhei Endo
Springtecture H
Singu-cho, Hyogo, Japon, 1998
http://www.archilab.org/public/2000/catalog/shuhei/shuheien.htm
I still think that there is a separation created by the linear plane. Here the separation is exposed and refuges spaces. However, where Diller + Scofidio building fails in creating a connection and becomes two separate comb shaped pieces, the linear folding plane in Springtecture H connects three separate building pieces. They are two very different parti diagrams that both employ the linear form. Diller + Scofidio building is inherently a datum of stacked spaces where the linear planes create a figural condition that breaks up the datum. The each layer turns into a positive-negative, right-left sided condition. Springtecture without the linear plane would be three separate buildings. The linear plane connects the three parts and holds the building together, thus becomes the parti and connection of the building. The "separation" mentioned earlier less evident in Springtecture H. Perhaps, it is in the separation of interior and exterior spaces . . .
The best part of this building is when the plane dips down and holds the path. The interaction of the corrugated plane and the ground plane seamlessly connects the building to the landscape. The "separation" is between the exposed to the sky and the enclosed landscape/refuge spaces.
Zaha Hadid and her Rosenthal Center for Contemporary Art in Cincinnati was also brought up during the last discussion.
Zaha Hadid
Rosenthal Centre for Contemporary Art, Cincinnati, 2003
Design: Zaha Hadid
© Zaha Hadid Architects
http://80.87.131.158/design/zaha-hadid
The linear fold is figural gesture that unites the seemingly haphazardly placed forms in her building. The forms act as a datum of similar building language: the material, the rectangular forms, the manner which these forms recess and project in the facade. However, without the linear plane, each parts of the building would seem completely haphazard. It is the tension and contrast of the linear plane to the rectangular forms which allows the datum to be realized.
The fold also holds the building within its context. Unlike Frank Gehry's EMP or his "Ginger and Fred" which use the existing context as a datum and connect to the block as figural pieces, the rectangular forms of Zaha Hadid's building are not dissimilar enough from the forms of the existing block. The plane maintains much of the language of the rest of Zaha Hadid's building: its similar in material. However, it speaks the language of planes and bend rather then the three dimensional language of forms. It is a figure within the building itself and adds that extra push which separates it from the language of the existing block. Thus, through tension and juxtaposition, the plane becomes the figural piece that bridges the gap between Hadid's building and the existing buildings on the block.
In comparison to the two previous examples, Zaha Hadid's building is perhaps the most successful in using the plane to connect the building. Diller + Scofidio use the plane as a figure, but to break the datum. The plane is a figure sitting in the datum of the fleshy part of the building. It doesn't actually connect the building visually or in any other way. Shuhei Endo's Springtecture H uses the plane to connect each part of the building. It is a figure, but is so integrated within the landscape that it becomes part of the landscape. It is no longer a two dimensional plane, but the surface of the landscape. Thus the building becomes part of the landscape which has simply unrolled itself. In Zaha Hadid's building, the figure retains its figural essence and connects both the building itself and the building within the block.
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