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EIJI SUMI
Neo Classic Banalty

Neo Classic Banalty

Eiji Sumi's new work, "Neo Classic Banality," features a minimalistic stainless steel sculpture with a rectangular shape and unconventional windows. It is intended to correspond with Chinese architecture, exploring the boundary between art and architecture and its landsc.

China has long been at the forefront of cutting-edge architecture, with numerous projects and developments. The country boasts a diverse range of ambitious and aesthetically pleasing contemporary designs created by talented domestic and international architects and designers.

However, not all individuals are entirely satisfied with the unconventional and avant-garde architectural experiments. Some critics argue that these designs neglect the fundamental principle of "Form follows function." For instance, the Guangzhou Opera House in China, designed by Zaha Hadid, encountered construction challenges and concerns about its overall quality.

In 2012, during Wang Shu's Pritzker Prize award ceremony, Lord Peter Palumbo, the chairman of the jury, emphasized the timely question of how architecture should relate to the past and the ongoing urbanization process in China. There is an ongoing debate about whether architecture should be firmly rooted in tradition or solely focused on the future.

This has led to a push for more "suitable" and "economical" architectural designs. While economic factors have historically contributed to standardized architecture, such as the proliferation of identical skyscrapers, buildings, and houses due to the rise of the global middle class, other factors also play a role. These factors include concerns about preserving the past and navigating the transition between old and new.

Renowned artist Donal Judd has been critical of architecture since the 1930s, from the construction of the Joslyn Memorial in Omaha, USA, to the AT&T Building in New York City in the 1980s. Judd dislikes standardized buildings due to their structural-functional form and the conventional reinterpretation of ambiguous historical ideas. He once commented on the Joslyn Memorial, stating, "The museum conceded nothing to time, place, or life. It was a conventional American idea of a conventional European idea of a Classical past that Europe never understood well."

Judd's critique of the bland architecture of his time prompts the question of why he created installations that initially appear to be variations of flat square foam. To understand this, one must consider his perspective on the distinction between architecture and art, as he saw a clear difference between the two.

"The simplest reason for the growing disconnect between art and architecture is that architecture, as a utilitarian practice, is deeply embedded within society, its conventions, institutions, and bureaucracies, and is undeniably driven by commercial considerations. On the other hand, art often exists on the periphery of society, created by outsiders who are willing to embrace poverty" . Therefore, Judd's inclination to create square and uninteresting buildings can be seen as an attempt to resist the transformation of architecture and the creation of something new.

However, when it comes to art, Judd had ideas about transforming painting or sculpture into something that challenged the traditional notions of space and the autonomy of objects. He sought to achieve this by exploring the generality of a flat surface that neither fit the category of painting nor sculpture.

Over time, art and architecture have grown closer, and the experimental nature of unconventional architecture raises questions about the functional aspects of architecture itself. One wonders if artistic expression can be considered a vital component of functionality. Judd once remarked, "The motive to change is always some uneasiness: nothing setting us upon the change of state, or upon any new action, but some uneasiness".

In the case of "Neo Classic Banality," the sculpture embodies the movement of light within its interior, akin to how Judd captured movement in his work. The presence of anomalous windows and the flat rectangular exterior form highlight the metaphorical contrast between opposing forces of change, rejection, and the inherent risks associated with the transmission of the past to the present or the preservation of the old.