Peter Eisenmann 1c5oa

PETER EISENMAN

KSHITIZ AGARWAL B.Arch IV

ABOUT… • Peter Eisenman was born in Newark, New Jersey. • He studied at Cornell and Columbia Universities . • Eisenman first rose to prominence as a member of the New York Five. • In 2001, Eisenman won the National Design Award for Architecture from the CooperHewitt National Design Museum.

STYLE • Eisenman has always sought somewhat obscure parallels between his architectural works and philosophical or literary theory. • His earlier houses were "generated" from a transformation of forms related to the tenuous relationship of language to an underlying structure. • Eisenman's latter works show a sympathy with the ideas of deconstructionism.

• He tries to do is to ‘unlink’ the function that architecture may represent from the appearance - form - of that same architectural object. • Concepts: – Artificial excavation – Tracing – Layering – Deformation

• Techniques: • • •

• •

Shear Interference Intersection Distortion Scaling

• Artificial excavation • Find traces of history. • Interpret form and meaning. • Derive new forms and meaning by layering and deforming.

• Shear • Skew objects • Interference • Study interactions • Intersection • Emergent shapes • Distortion • Transform shapes • Scaling • Rotation

Method

• Historical reading of the site – Superposition

• Deformation strategy – Diagrammatic image

• Elaboration – Design

• Diagrammatic image – Additional elements – Outside architecture – Related to project – Informing and deforming

• Diagrammatic image – Add to superposition – Deform composition

Model

• Diagrammatic model • Physical scale model • Computer model

Deconstructionism • Characterized by ideas of fragmentation. • Characterized by a stimulating unpredictability and a controlled chaos. Coop Himmelblau (Wolf Prix), Vienna

IBA Block 2, Berlin

Works • House VI(Frank residence), Cornwall, Connecticut.Design: 1972. • Wexner Centre for the Arts, Ohio State University,Ohio, 1989 • Nunotani Building, Edogawa Tokyo Japan, 1991 • Greater Columbus Convention Centre, Ohio,1993 • Aronoff Centre for Design and Art, University for Cincinnati, Cincinnati, Ohio, 1996 • City of Culture of Galcia, Santiago de Compostela, Galcia, Spain, 1999 • Memorial to the Murdered Jews of Europe, Berlin, 2005 • University of Phoenix Stadium, Glendale , Arizona, 2006

House VI • Located in Cornawall,Connecticut. • Eisenman created a form from the intersection of four planes, subsequently manipulating the structures again and again, until coherent spaces began to emerge. • The envelope and structure of the building are just a manifestation of the changed elements of the original four slabs, with some limited modifications.

• The purely conceptual design meant that the architecture is strictly plastic, bearing no relationship to construction techniques or purely ornamental form.

column/beam intersection at red staircase

• The use of the red stairs in House VI is somewhat odd. • It is an upside down stairs, marked red, which functions only as to divide the building and provide the house with symmetry.

Wexner Center for the Arts • • • •

Location : Ohio State University,Ohio Building Type :University arts center. Construction System :steel, concrete, glass. Included in the Wexner Center space are a film and video theater, a performance space, a film and video post production studio, a bookstore, café, and 12,000 square feet (1,100 m²) of galleries.

• The design includes a large, white metal grid meant to suggest scaffolding, to give the building a sense of incompleteness. • The extension of the Columbus street grid generates a new pedestrian path into the campus, a ramped east-west axis. • a major part of the project is not a building itself, but a 'non-building'.

• Scaffolding traditionally is the most impermanent part of a building. • Thus, the primary symbolization of a visual arts center, which is traditionally that of a shelter of art, is not figured in this case. • For although this building shelters, it does not symbolize that function.

Conclusion • The architecture of Eisenman had many different angles and difficulties when analyzing it and trying to describe it in general .

“forms are no longer a ‘means toward an end,’ but an end in themselves”

Thank You…