Peter Eisenman(08631).pptx

8/10/2019 Peter Eisenman(08631).pptx

1/21

SPACE IS THE PRESENCE OF ABSENCE


2/21

LIFE AND TIMES

Born: August 11, 1932 in Newark, New Jersey

Education: Bachelor of Architecture Degree from CornellMaster of Architecture Degree from Columbia University's

Graduate School of Architecture, Planning and Preservation

M.A. and Ph.D. degrees from the University of Cambridge

Teaching: Peter Eisenman currently teaches at Yale University, offering studiocourses and courses in design, visual analysis, and architecture

theory. Eisenman has also taught at Cambridge University, Harvard

University, Princeton University, Ohio State University, and The Cooper

Union.

Related People: Peter Eisenman headed an informal group of five New York architectscalled the New York Fiv e. In addition to Peter Eisenman, the New

York Five included:

Charles Gwathmey

Michael Graves

John Hejduk

Richard Meier


3/21

* House VI (Frank residence), Cornwall, Connecticut, Design: 1972.

* Wexner Center for the Arts, Ohio State University, Columbus, Ohio, 1989

* Nunotani building, Edogawa Tokyo Japan, 1991 [1]

* Greater Columbus Convention Center, Columbus, Ohio, 1993 [2]

* Aronoff Center for Design and Art, University of Cincinnati, Cincinnati, Ohio,

1996

* City of Culture of Galicia, Santiago de Compostela, Galicia, Spain, 1999

* Il giardino dei passi perduti, Castelvecchio Museum, Verona, 2004

* Memorial to the Murdered Jews of Europe, Berlin, 2005* University of Phoenix Stadium, Glendale, Arizona, 2006


4/21

FRANKS HOUSE (HOUSE NO. VI)

Location: Cornwall, Connecticut

Client: Mr. and Mrs. Richard

Frank

Project Year: 1972-1975

Area: 1500 sq feet


5/21

PLANS


6/21

SECTIONS


7/21

INTERIOR VIEWS

Upside down staircaseBedroom

Beams and column

House VI includesdisorientation in the work

without the concept of

relating it to the traditional

home. The design emerged

from a conceptual process

that began with a grid.

The house was effecientlyconstructed using a simple

post and beam system.

However some columns or

beams play no structural role

and are incorporated to

enhance the conceptual

design.

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.


8/21

WEXNER CENTER FOR THE ARTS, OHIO

Location: Minneapolis, Minnesota

Client: Ohio State University

Project Year: 1983-1991

Architecture should challenge art and this notion that it should be a background.


9/21

SITE PLAN

Peter Eisenman bought about adisplacement by challenging the way a

center of arts is used.

For Wexner Center, Peter Eisenman

incorporated both old and new theories

into his design, bringing issues of the

diagram as the generator, the gris,

trace, etc; from the past projects andconsidering new aspects such as

context and program.

By utilizing two opposing property grid

systems established during the

settlement of Ohio, Eisenman creates

an interstitial zone that creates a

connection between the university and

the urban fabric of Columbus. The

physical manifestation of these grids

becomes the spaces with which the

program and the artwork

contextualize.


10/21

VIEWS

The Wexner Center was thefirst major public building to be

designed by Eisenman,

previously known primarily as a

teacher and theorist.

The design includes a large,

white metal grid meant tosuggest scaffolding, to give the

building a sense of

incompleteness in tune with the

architect's deconstructivist

tastes. Eisenman also took

note of the mismatched street

grids of the OSU campus and

the city of Columbus, whichvary by 12.25 degrees, and

designed the Wexner Center to

alternate which grids it

followed. The result was a

building of sometimes

questionable functionality, but

admitted architectural interest.


11/21

INTERIOR VIEWS

Included in the Wexner Center space are a film

and video theater, a performance space, a film

and video post production studio, a bookstore,

caf, and 12,000 square feet (1,100 m) of

galleries.


12/21

HOLOCAUST MEMORIAL, BERLIN

I don't want people to weep and then walk away with a clear conscience

It is a field of 2,711 concrete stellar and

an underground place of information'

were constructed on the 19,000m2 site.

The stellar measure 2.38m x 0.95m and

vary in height up to a maximum of 5m.

At the memorial site the width

measurements between the rows of

stelae are restricted, leaving a pathway

narrow enough for only one person to

pass through at a time in order to create

space and peacefulness for visitors.

By putting to rest the fantasy that the

Holocaust can be conveniently relegated

to the past, Mr. Eisenman is clearly

exploring these tensions. The memorial's

grid, can be read as both an extension ofthe streets that surround the site and an

unnerving evocation of the rigid

discipline and bureaucratic order that

kept the killing machine grinding along.

The pillars, meanwhile, are an obvious

reference to tombstones.


13/21

DETAILS

A view of the information center at the

memorial, where the display includes letters

from those on their way to concentration camps.


14/21

CITY OF CULTURE OF GALICIA, SPAIN

Location: Santiago de Compostela,Spain

Client: Foundation for the City of

Culture of Galicia

Project Year: 1999ongoing(2012)

Size: One million sq ft

It is unique both in concept and

plasticity, and exceptionally in tune

with the sites location. It develops anew mountaintop, a stone crust of

pseudo geological folds divided by

natural crevices evoking scallop shell

motif - Santiago's traditional symbol.


15/21

PROJECT FACTS

Major components of the CCG are:

The Museum of Galician History (172,000 square feet)

International Art Center (135,000 square feet)

Performing Arts Theater (220,000 square feet)

Galician Library (122,000 square feet)

National Archive (86,000 square feet)

Heritage Research Center (50,000 square feet)


16/21

SITE PLAN

It might seem futuristic, but the ideadraws extensively from history,

articulating Santiago's medieval roots.

Eisenman took inspiration from the old

city of Compostela, in the five

pilgrimage routes inside the medieval

city that lead to the cathedral, and has

incorporated masonry techniques usedat the time when the old city of Santiago

was constructed, along with all local

stone in order to give the complex a

face that blends in with the rest of the

structures in the ancient city. Rather

than approaching the project as a set of

discreet buildings in the traditional form

of urbanism of figure/background, thebuildings that make up the City of

Culture are literally being carved out of

the terrain to configure a type of

urbanism where buildings and

topography merge into one figure and

the museums, libraries and auditoriums

do not appear to be such.

SITE PLAN


17/21

PLAN AND SECTION

PLAN

SECTIONAL MODEL


18/21

EXTERIOR VIEWS

The buildings will be linked by five main pedestrian

pathways leading to a central plaza, with 25 hectares

of parkland surrounding the buildings.

Galician ArchivesTo be opened in Dec 2010

it shall represent the Galician library system in Spainand before all international organizations, forums and

platforms of the world of libraries.

Galician MuseumIt has a spectacular faade. Its is

close to 43 meters high, and has over 16,000 m2 of

surface area .

Central services - Covering an area of 7,500 m2, the

building is structured on five floors that will hostoffices, a staff canteen, two smaller and one larger

multi-purpose rooms


19/21

INTERIOR VIEWS

LIBRARY

ART GALLERY READING ROOM


20/21

TIC TAC TOE BUILDING

CONCEPT FOR WORLD TRADE CENTER NEW YORK

Five tic-tac-toe towers rise to a height

of 1,111 feet on the north and east

sides of the site, evoking, the

interlaced fingers of two hands. Outer

walls are made with high-tech material

that absorbs sunlight during the day

and glows at night. A memorial plazawould surround the twin towers'

footprints, which have glass-bottom

reflecting pools that bring light to the

transit hub below. These pools are the

starting point for memorial corridors

that extend out to platforms over the

Hudson River, filling the same spacethe shadows of each tower would have

occupied before their collapse, with

parks lined with trees and 2,800 lights

representing the victims who

perished. Twelve of the site's 16 acres

are left as open space.


21/21

SUBMITTED TO:

AR. PUNEET SHARMA

Documents

Peter Eisenman(08631).pptx