Unit IV- PETER EISENMAN 0000000000001.pptx

PETER EISENMAN

1. Post Modern Architecture (Deconstructivism) PETER EISENMAN

2. Introduction Born : 1932 in New Jersey, USA. Education : B.Arch - Cornell University 1955 Master of architecture - Columbia University M.A and ph.D – University of Cambridge Honorary doctor of fine arts – University of Illinois, Chicago. Influence: The ideas of the french philosopher Jacques Derrida. Exposed to ideas that formed the foundation of Le Corbusier early practice and architectural philosophy. Eisenman is known for architecture journalism, along with his designs. His designs are termed as high modernist or deconstructive. He currently teaches theory seminars and advanced design studios at the Yale School of Architecture. Award : The national design award for architecture from the Cooper-Hewitt national design museum (2001)

3. PHILOSOPHY He thought outside the traditional parameters of “built work,” concerning himself instead with a  conceptual form of architecture, in which the process of architecture is represented through diagrams rather than through actual construction. In his designs he fragmented existing architectural models in a way that drew upon concepts from philosophy and linguistics. Deconstructivism often manipulates the structure's surface skin and creates non-rectilinear shapes which appear to distorted and dislocate elements of architecture.  The finished visual appearance is characterized by unpredictability and controlled chaos. “The real architecture only exists in drawings, the real building exists outside the drawings” -Peter Eisenman

4. Renowned works City of Culture of Galicia  (begun 1999) in Santiago de Compostela , Spain Montreal Holocaust Museum Memorial to the Murdered Jews of Europe  (2005) in Berlin University of Phoenix stadium

5. HOUSE VI, Conneticut (1972-1975)

6. The design emerged from a conceptual process that began with a grid . Eisenman manipulated the grid in a way so that the house was divided into four sections and when completed the building itself could be a "record of the design process." Structural elements were revealed so that the construction process was evident.

7. House VI, or the Frank Residence was completed in 1975. It has become famous for both its revolutionary definition of a house as much as for the physical problems of design and difficulty of use. Rather than form following function or an aesthetic design, the design emerged from conceptual process , and remains pinned to that conceptual frame. The purely conceptual design meant that the architecture is strictly plastic, bearing no relationship to construction techniques or purely ornamental form.

8. Situated on a flat site in Cornwall, Connecticut House VI stands its own ground as a sculpture in its surroundings. The house was efficiently constructed using a simple post and beam system . In other spaces, beams meet but do not intersect, creating a cluster of supports . However some columns or beams play no structural role and are incorporated to enhance the conceptual design. Another quirky thing was the column hanging over the dinner table that separates diners

9. He made it difficult for the users so that they would have to grow accustom to the architecture and constantly be aware of it. In the bedroom there is a glass slot in the center of the wall continuing through the floor that divides the room in half, forcing there to be separate beds on either side of the room so that the couple was forced to sleep apart from each other. Another curious aspect is an upside down staircase , the element which portrays the axis of the house and is painted red to draw attention.

10. The structure was incorporated into Eisenman's grid to convey the module that created the interior spaces with a series of planes that slipped through each other. Purposely ignoring the idea of form following function, Eisenman created spaces that were quirky and well-lit, but rather unconventional to live with. He made it difficult for the users so that they would have to grow accustom to the architecture and constantly be aware of it.

11. WEXNER CENTRE FOR VISUAL ARTS, Ohio (1983-1989)

12.  The wexner center acts as a forum where established and emerging artists can test ideas and where diverse audiences can participate in cultural experiences that enhance understanding of the art of our time.  A large, white metal grid meant to suggest  scaffolding , to give the building a sense of incompleteness 43 tons of recycled auto glass were used.

13. The firm of Peter Eisenman and Richard Trott won the design competition for Wexner Center of Arts. It was Peter Eisenman’s first large public commission and one of the first large scale constructions of Deconstructivist Architecture. The building is tucked in between the Mershon Auditorium and Weigel Hall both of which are home to programs that were to be consolidated into the Wexner Center. Eisenman wanted to leave the place’s history reflected integrating large brick structures, inspired by the old armoury building burned in the late nineteenth century and were completely demolished in 1959. Linking past through present with unconventional means. This project is governed by a system of orthogonal grid, but some of the columns do not touch the ground, contradicting the role to be performed . It is the way for the architect to play with the classic symbol of the column. One more way to show deconstructivism is take some recognizable element of the old building and deform it. The design includes a large white metal grid suggesting scaffolding and gives the building a sense of unfinished and Incomplete Grid. PHILOSOPHY AND DESIGN PROCESS

14. The mismatched street grids of the OSU campus and the city of  columbus , which vary by 12.25 degrees

15.  It maintained distance from the city of Columbus by establishing a grid for the campus that was shifted off the city grid by twelve-and-one-quarter degrees. As the campus grew, it rationalized and extended this internal grid from the central campus , reinforcing the university’s separation from its urban context. The university continued to expand in a somewhat ad-hoc manner into the surrounding area, and it now straddles both grids at its periphery. 

16. plan

17. Grid is to symbolize a permanent scaffold to indicate that the building is always under construction. Raised landscaped platforms divided by sunken walkways that rise and fall to grade and building Form of south façade was derived from element of castile. Eisenman “ truth and reality are unknown and we are trapped inside our own interpretation so constructing our own reality”. Thus designed an building which is stable but looked broken and under construction .

18. Exterior Permanent scaffolding Incomplete tower Half cut arches Inside Uneven flooring Cross beams Column which do not reach the floor stairs with hanging wall

19. BIO CENTRUM, Germany

20. The project, also known as the Biozentrum , used fractal geometry and biological concepts to generate its design, but it remained an unbuilt concept documented in architectural archives. Biologists explain the construction of proteins by using four geometric figures, each with a specific color that symbolizes the DNA code. The shapes of the inner faces of these figures are capable of locking together in pairs. The blueprint for every protein is encoded in long sequences of these paired figures to form a double-strand chain. Using an analogy between biological construction and architectural construction, this chain can be transposed into architectural form in such a way that it produces an architecture symbolic of the discipline it houses.