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I don't think it is generally representative of Eisenman's philosophy, no. It's worth remembering that these two architects are separated by half a century and the pacific ocean, and that gulf encompasses significant aesthetic, philosophical, cultural and technological developments. I don't know a huge amount about Nikken Sekkei other than them being one of those very old mega-firms that built Tokyo tower had their heyday in the 80s, so I can't speak much to a house style or philosophy, but as I mentioned it seems more in dialogue with Ando than Eisenmannian deconstruction, even if both are pursuing a kind of phenomenological minimalism. Japan also has its own aesthetic philosophies against which Japanese architects play and react. Eisenman never struck me as someone with a huge interest in materiality or light, and his work is explicitly antitectonic in places (a result of Derrida-esque attempts to liberate signifier from signified). The gymnasium is thoroughly tectonic and materiality is clearly front of mind, which is why the care is taken to showcase the formwork. Where the gymnasium bears the marks of its construction process, Eisenman's House VI is a house in abstract, the planes of its walls pushed and pulled without caring to represent the construction process, or even to subvert it. The (mild) parametricism is also an aesthetic development contingent on software-led design processes that simply didn't exist in Eisenman's context.
I do agree that there is a sometimes challenging, sometimes productive interplay between what positively evokes nature and what evokes decay, but I don't think it's as straightforward as béton brut surfaces always and necessarily giving a sense of grime, or that grime necessarily is of negative valence. In Tanizaki's essay on Japanese aesthetics, there is a special attention paid to grime:
...
Tanizaki was writing with his tongue in his cheek (much ink is spent on the virtues of wooden toilets), but I do think brutalist structures put decay on an aesthetic knife-edge more than most. I've never seen a brutalist building work when left to impose its monolithic mass on an urban parking lot, but I love how this tension between artifice and nature is completely released in da Rocha's Casa no Butantã. The raw concrete is humanised by surrendering it to the jungle. Appropriately used, decay functions to soften edges, blur boundaries. When homeownership can often feel like a constant, doomed struggle against entropy, a design that reassesses the necessity of this opposition can be incredibly liberating.
I think with your prison cell examples the worst are actually where this tension is amplified, rather than released. I'd certainly find a mess of shit and viscera unpleasant on a dirt cave floor, but would find it significantly more disturbing on broken white tile under fluorescent lights. This is just to illustrate that these qualities, and their humaneness, aren't simple variables to dial up and down, but interplay with each other in context.
Back to the gymnasium, and it wasn't I that picked it as a particular exemplar of anything, I agree that many of the circulation spaces are not particularly inspiring, and the classroom probably the most egregious. But I can see to some extent what they are aiming for, and it is something rather different from what Eisenman pursued. I think it's possible for a design to work in some contexts and not others, and with a design that's on such a knife's edge as this (and I consider it flawed in a few ways), it'd be somewhat miraculous to transport it to a prison typology with the intended effect intact. The one saving grace, if you could call it that, is that the baseline for these environments is already dire. A fancy private school is going to have a slightly different attitude to upkeep as well.
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