Peter Eisenmann

7/29/2019 Peter Eisenmann

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PETER EISENMAN

KSHITIZ AGARWAL

B.Arch IV



ABOUT…

• Peter Eisenman was born in Newark, NewJersey.

• 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 DesignAward for Architecture from the Cooper-Hewitt National Design Museum.



STYLE

• Eisenman has always sought somewhatobscure parallels between his architecturalworks and philosophical or literary theory.

• His earlier houses were "generated" from atransformation of forms related to thetenuous relationship of language to anunderlying structure.

• Eisenman's latter works show a sympathy withthe 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

layer ing and deforming.



• Shear

•

Skew objects• Interference

• Study interactions

• Intersection

• Emergent shapes

• Distortion

• Transform shapes

• Scaling

• Rotation



• Historical reading of the site

– Superposition

• Deformation strategy

– Diagrammatic image

• Elaboration

– Design

Method

• Diagrammatic image

– Additional elements

– Outside architecture

– Related to project

– Informing and

deforming



• Diagrammatic image

– Add to superposition

–Deform composition

• Diagrammatic model

• Physical scale model

• Computer model

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 theintersection 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 elementsof the original four slabs, with some limitedmodifications.



• The purely conceptual design meant that the

architecture is strictly plastic, bearing no

relationship to construction techniques or

purely ornamental form.





l /b



• The use of the red stairs in House VI is

somewhat odd.

• It is an upside down stairs, marked red, whichfunctions only as to divide the building and

provide the house with symmetry.

column/beam

intersection at red

staircase







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

terms.

“forms are no longer a ‘means toward an

end,’ but an end in themselves”



Thank You…

Peter Eisenmann

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