Peter Eisenman

Architecture Words 1

Peter Eisenman, renowned for his own controversial and influential body of work, looks at ten leading architects of the twentieth century and their theoretical positions, technological innovations, and design contributions. Eisenman identifies a project within the oeuvre of each of these architects—Luigi Moretti, Ludwig Mies van der Rohe, Le Corbusier, Louis Kahn, Robert Venturi, James Stirling, Aldo Rossi, Rem Koolhaas, Daniel Libeskind, and Frank Gehry—that has profoundly affected architectural discourse and practice. With drawings, diagrams, and always-incisive text, he presents each architect’s theoretical position, and then offers detailed critical analysis of the project.

Ten Canonical Buildings 1950-2000

Elisa Iturbe

A provocative case for historical ambiguity in architecture by one of the field's leading theorists Conceptions of modernity in architecture are often expressed in the idea of the zeitgeist, or "spirit of the age," an attitude toward architectural form that is embedded in a belief in progressive time. Lateness explores how architecture can work against these linear currents in startling and compelling ways. In this incisive book, internationally renowned architect Peter Eisenman, with Elisa Iturbe, proposes a different perspective on form and time in architecture, one that circumvents the temporal constraints on style that require it to be "of the times"—lateness. He focuses on three twentieth-century architects who exhibited the qualities of lateness in their designs: Adolf Loos, Aldo Rossi, and John Hejduk. Drawing on the critical theory of Theodor Adorno and his study of Beethoven's final works, Eisenman shows how the architecture of these canonical figures was temporally out of sync with conventions and expectations, and how lateness can serve as a form of release from the restraints of the moment. Bringing together architecture, music, and philosophy, and drawing on illuminating examples from the Renaissance and Baroque periods, Lateness demonstrates how today's architecture can use the concept of lateness to break free of stylistic limitations, expand architecture's critical capacity, and provide a new mode of analysis.

Lateness

A long-awaited reassessment of Andrea Palladio s canonical villas that challenges widely accepted interpretations of the Renaissance architect s work "

Palladio Virtuel

This volume gathers a selection of architect Peter Eisenman's later writings. In these texts, he undertakes a variety of tasks, including theoretical analyses, close readings of his own works, and innovative assessments of the designs and writings of other architects and critics.

Selected Writings, 1990-2004

Written Into the Void

FIRST ENGLISH-LANGUAGE PUBLICATION OF PETER EISENMAN’S 1963 DISSERTATION

The Formal Basis of Modern Architecture

Kenneth Frampton

Tadao Andō

George T. Kunihiro

Om den japanske arkitekt Tadao Ando f. 1941 og hans værker

The Yale Studio & Current Works

Forty years in the making, "Giuseppe Terragni: Transformations, Decompositions, Critiques" documents and investigates two of Italian rationalist architect Giuseppe Terragni's masterworks: the Casa del Fascio (1933-36) and the Casa Giuliani-Frigerio (1939-40), both in Como. This far-reaching study -- illustrated with more than five hundred original architectural diagrams and archival photographs -- employs what Eisenman calls critical and textual reading of both buildings. He attempts to broaden the definition of the formal from a narrow aesthetic and compositional view to include first the conceptual and then the textual. It is through this idea of the textual that Eisenman begins to define an idea of the critical in architecture. Eisenman's methodology is wholly removed from traditional approaches -- social, historical, aesthetic, functional. Instead, the various articulations and openings on the facades constitute a set of marks, notations that provide the basis for his analysis. In the Casa del Fascio, for example, each of the four sequential design schemes records the previous state, encoding the process of transformation in the final building. In the Casa Giuliani-Frigerio it is instead the process of decomposition that generates the facades. Also included in the book are an essay by Terragni and a critique by Manfredo Tafuri. In the end, it is the dual protagonists -- the architect and the author -- who together establish a new theoretical and analytical framework.

Transformations, Decompositions, Critiques

Giuseppe Terragni

Jaques Derrida

Chora L Works documents the unprecedented collaboration, initiated in 1985, between philosopher Jacques Derrida and architect Peter Eisenman on a project for the Parc de la Villette in Paris. Woven into the volume are discussion transcripts, candid correspondence, and essays, as well as sketches, presentation drawings, and models. Derrida and Eisenman's design process was guided by Plato's chora text from the Timeaus; their unique reciprocal relationship was an interchange - and transformation - of voices.

Jacques Derrida and Peter Eisenman

Chora L Works

Städelschule Architecture Class

"Giovanni Battista Piranesi s engravings, Campo Marzio dell antica Roma of 1762, have a peculiar position within the discipline of architecture. With their dissemination, the folio collection of six etchings have till this day nurtured architects speculations on the city. Since the Enlightenment, they and in particular the Campo Marzio plan have fuelled research, discussions and visions for the future of architecture. These engravings are also some of the most beautiful documents in Western architectural history. This fifth issue of SAC JOURNAL, Zero Piranesi, is guest-edited by Peter Trummer. It celebrates Piranesi's vision of ancient Rome and the disciplinary search of the endless realities within his Campo Marzio plan of Rome. For Trummer, Zero Piranesi suggests an architectural methodology based on a theory of replacement. With it, Piranesi's plan of Rome is transformed into an Object Plan a plan where multiple authors various positions are absorbed. Thus, the Object Plan contains a kaleidoscope of ideas which form a crust of architectural speculations accumulated within. Zero Piranesi presents the seminal projects of Peter Eisenman and Jeffrey Kipnis at the Venice Biennale in 2012 as well as new texts by, amongst others, Michael Young and Marrikka Trotter. Trummer's own version of Campo Marzio comprises of drawings and a text that together construct Zero Piranesi" -- Pàgina 4 de la coberta.

Zero Piranesi

Museum of Modern Art (New York, N.Y.)

Richard Meier

Michael Graves

Charles Gwathmey

John Hejduk

Five Architects, originally published in 1975, grew out of a meeting of the CASE group (Conference of Architects for the Study of the Environment) held at the Museum of Modern Art in 1969. The purpose of this gathering was to exhibit and criticize the work of five architects -- Eisenman, Graves, Gwathmey, Hejduk, and Meier -- who constituted a New York school, and who are now among the most influential architects working today.The buildings shown here have more diversity than one might expect from a school, but share certain properties of form, scale, and treatment of material. Collectively, their work makes a modest claim: it is only architecture, not the salvation of man and the redemption of the earth.Providing complete drawings and photographic documentation, this collection also includes a comparative critique by Kenneth Frampton, an Introduction by Colin Rowe that suggests a still broader context for the work as a whole, and two short texts in which individual positions are outlined. Now back in,print, Five Architects serves as a reference to the early work of some of America's most important architects and provides us with a glimpse back at the direction of architecture as they saw it over twenty years ago.

Eisenman, Graves, Gwathmey, Hejduk, Meier

Five Architects

Rem Koolhaas

Architectural Association (Great Britain)

Documents a meeting between two architects -- Peter Eisenman and Rem Koolhaas -- at a meeting of the Architectural Association in 2006.

Supercritical

Rosalind E. Krauss

Manfredo Tafuri

Gathers drawings and models for six house designs, shows the finished buildings, and offers the author's comments on architectural design

Houses of Cards

Eisenman Architects

Kurt Walter Forster

Luis Fernández-Galiano

Peter Eisenman's competition-winning project for the City of Culture of Galicia in Santiago de Compostela, Spain, is a formidable battery of museums, libraries, and auditoriums, a cultural acropolis atop a spectacular hillside site in northeastern Spain. By excavating the hilltop and arranging six buildings as a kind of artificial topography, Eisenman creates a new warped landscape that seems to merge building and ground, that occupies the hilltop without seeming to have been built upon it. In CODEX, the New York-based Eisenman, known for a career of formal investigations, reveals in essays and illustrations his theory of coding as a device for producing form. Through more than three hundred line drawings and perspectives, the development of the code--and the buildings and landscape it informs--becomes apparent, culminating in a giant earthwork as excavation of the site begins.

The City of Culture of Galicia

Code X

YALE UNIV PR

Essais sur l'architecture par l'architecte Eisenman.

Selected Writings, 1963-1988

Eisenman Inside Out

Uses the architectural design of a house to show the principles of structuralism and a possible reaction against traditional functionalism

House X

Stephen Dobney

It is difficult to say which is the more impressive career accomplishment: to have generated an endlessly renewed trail of agitative hypotheses over a 30-year period, or to have eschewed nearly all the comforts of consolidation - and the inevitable complacencies - afforded by conventional, repeatable "successes" such as the production of "great" buildings or the development of a signature style. In both these respects, Peter Eisenman differs not only from other architechts of his own generation, but from nearly all other architects working today. When Eisenman's work began in the early sixties, it was, and remains to this day, a primarily tactical enterprise: its force from the outset was drafted from that of the enemy - classicism - but was also turned aggressively against it... Eisenman's task has been to develop a practice that, to borrow an expression from Foucault and Nietzsche, would come from outside... There is not now, nor has there ever been, a fixable Eisenmanian alternative architecture; tactical space after all is made up of a series of seized "occasions," so that the momentary triumphs that punctuate its unfolding campaign are never - indeed cannot be - stored. Eisenman's practice is assembled and articulated in movement and in the spirit of movement; it operates through invasion, disruption, and the release of temporarily trapped forces into free motion and recombination.

Peter Eisenman

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