Despite its contemporaneity, the Casa da Musica (2005) by OMA appears to have been designed with intentions that could be called classical. Particularly, this classical character is manifested in the building's axial urban relationship, its formal derivation and deviation from platonic figures (in this case, the square), strong compositional moves based on the proportional phenomenon of the golden ratio, and the subtle inflections of space that evoke the architectural traditions of ancient Greece and Rome. But is the Casa's design intended as a critique of the very classical precepts it appropriates? Misalignments of center, blurring of structural and spatial figures, and an undercurrent of typological ambiguity—a split personality half Greek, half Roman—could all be read as challenging of what Eisenman has called "the metaphysics of presence," a critical project ongoing in architecture since Brunelleschi.

© 2011, Tyler Survant, All Rights Reserved.
Casa da Musica Site Plan
Casa da Musica Site Plan
Casa da Musica Site Plan
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