PETER EISENMAN

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PETER EISENMAN

• KSHITIZ AGARWAL
• B.Arch IV

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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 Cooper-Hewitt National
  Design Museum.

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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.

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• He tries to do is to unlink the function that
  architecture may represent from the appearance -
  form - of that same architectural object.

• Techniques
• Shear
• Interference
• Intersection
• Distortion
• Scaling

• Concepts
• Artificialexcavation
• Tracing
• Layering
• Deformation

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

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

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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

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• Diagrammatic image
• Add to superposition
• Deform composition

Model

• Diagrammatic model
• Physical scale model
• Computer model

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Deconstructionism

• Characterized by ideas of fragmentation.
• Characterized by a stimulating unpredictability
  and a controlled chaos.

Coop Himmelblau (Wolf Prix), Vienna
IBA Block 2, Berlin
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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

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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.

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

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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.

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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.

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• 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'.

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• 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.

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Conclusion

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

forms are no longer a means toward an end,
but an end in themselves
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Thank You