Deconstructivism and Peter eisenman
- 2. • IT IS A DEVELOPMENT OF POSTMODERN ARCHITECTURE IN THE LATE 1980s • ITS INFLUENCED BY THE THEORY OF DECONSTRUCTION • IT IS CHARACTERIZED BY FRAGMENTATION, MANIPULATION OF A STRUCTURE’S SURFACE, NON- RECTILINEAR SHAPES, UNPREDICTABILITY AND CONTROLLED CHAOS • DECONSTRUCTIVISM CAME TO PUBLIC NOTICE WITH THE 1982 PARC DE LA VILLETTE ARCHITECTURAL DESIGN COMPETITION (ENTRIES FROM JACQUES DERRIDA,EISENMAN AND BERNARD TSCHUMI), 1988 DECONSTRUCTIVIST ARCHITECTURE EXHIBITION IN NEW YORK, AND THE 1989 OPENING OF THE WEXNER CENTRE FOR THE ARTS DESIGNED BY PETER EISENMAN
- 4. PETER EISENMAN AN AMERICAN ARCHITECT
- 5. • BORN ON AUGUST 11,1932 • BIRTH PLACE:NEWARK, NEW JERSEY • ATTENDED COLUMBIA HIGH SCHOOL, NEW JERSEY • COMPLETED B.ARCH FROM CORNELL UNIVERSITY FOLLOWED BY M.ARCH FROM COLUMBIA UNIVERSITY • ALSO, ACQUIRED M.A AND Ph.D. DEGREES FROM CAMBRIDGE UNIVERSITY
- 6. CAREER •HE FIRST ROSE TO PROMINENCE AS A MEMBER OF THE NEW YORK FIVE (A GROUP OF FIVE ARCHITECTS) : EISENMAN, CHARLES GWATHMEY, JOHN HEJDUK, RICHARD MEIER, MICHAEL GRAVES •THESE ARCHITECTS’ WORK AT THAT TIME WAS CONSIDERED A REWORKING OF THE IDEAS OF LE CORBUSIER •LATER ON EISENMAN BECAME MORE AFFILIATED TO DECONSTRUCTIVISM
- 7. • HE REJECTED THE FUNCTIONAL CONCEPT OF MODERNISM BY DESIGNING STAIRWAYS THAT LED NOWHERE OR COLUMNS THAT DID NOT FUNCTION AS SUPPORT • HIS WORKS WERE CHARACTERIZED BY DISCONCERTING FORMS, ANGLES AND MATERIALS • ACCORDING TO EISENMAN, WHEN YOU CAN SENSE THE INCOMPLETENESS OF A FINISHED STRUCTURE, IT IS A PARADOXICAL EXPERIENCE. IF THE PARTS THAT MAKE UP A WHOLE ARE IN CONFLICT, THE SENSATION OF THE INCOMPLETE CONTESTS THE FACT THAT THE STRUCTURE IS, IN FACT, A FINISHED AND FULLY ENCLOSED SPACE PHILOSOPHY
- 8. WORKS •MEMORIAL TO THE MURDERED JEWS OF EUROPE, BERLIN •GREATER COLUMBUS CONVENTION CENTRE, COLUMBUS, OHIO •WEXNER CENTRE OF THE ARTS, COLUMBUS, OHIO •HOUSE VI (FRANK RESIDENCE), CONNECTICUT •CITY OF CULTURE OF GALICIA, SPAIN
- 9. CITY OF CULTURE OF
- 10. • A COMPLEX OF CULTURAL BUILDINGS IN SANTIAGO, GALICIA, SPAIN • IT WAS DESIGNED BY A GROUP OF ARCHITECTS LED BY PETER EISENMAN • CONSTRUCTION WAS EXPENSIVE AND CHALLENGING AS THE DESIGN OF THE BUILDINGS INVOLVES HIGH DEGREE CONTOURS, MEANT TO MAKE THE BUILDINGS LOOK LIKE ROLLING HILLS • NEARLY EVERY WINDOW HAD ITS OWN CUSTOM SHAPE • IT INCLUDES A LIBRARY, THE ARCHIVE OF GALICIA, A MUSEUM AND CENTRAL SERVICES BUILDING MUSEUM OF GALICIA
- 12. • IT IS ALSO KNOWN AS HOLOCAUST MEMORIAL • IT IS A MEMORIAL IN BERLIN TO THE JEWISH VICTIMS OF THE HOLOCAUST, DESIGNED BY EISENMAN AND ENGINEER BURO HAPPOLD • IT CONSISTS OF 4.2 ACRE SITE COVERED WITH 2,711 CONCRETE SLABS/STELAE ARRANGED IN A GRID PATTERN ON A SLOPING FIELD • IT TOOK 1 YEAR FOR ITS COMPLETION • IT WAS DESIGNED TO PRODUCE AN UNEASY AND CONFUSING ATMOSPHERE
- 14. • IT IS THE OHIO STATE UNIVERSITY’S MULTIDISCIPLINARY, INTERNATIONAL LAB FOR THE EXPLORATION AND ADVANCEMENT OF CONTEMPORARY ART • AREA: 108 SQ. FT • THREE-STORY BUILDING • PETER EISENMAN WON THE DESIGN COMPETITION OVER FOUR OTHER EXPERIENCED FINALISTS IN 1983 • INCLUDES A LARGE WHITE METAL GRID MEANT TO SUGGEST SCAFFOLDING TO GIVE THE BUILDING A SENSE OF INCOMPLETENESS • IT HOUSES A FILM AND VIDEO THEATER, PERFOMANCE SPACE, A FILM AND VIDEO POST PRODUCTION STUDIO, A BOOKSTORE, CAFÉ AND 12,000 SQ. FT OF GALLERIES
- 16. HOUSE
- 17. • STYLE: DECONSTRUCTIVIST • IT IS ALSO KNOWN AS FRANK RESIDENCE • CONSTRUCTION PERIOD: 1972-1975 • PLACE: UNITED STATES • THE BUILDING IS MEANT TO BE “A RECORD OF DESIGN PROCESS” • TO START EISENMAN CREATED A FORM FROM THE INTERSECTION OF FOUR PLANES SUBSEQUENTLY MANIPULATING THE STRUTURES AGAIN AND AGAIN • BUT DUE TO EISENMAN’S LACK OF EXPERIENCE AT THE TIME RESULTED IN A POORLY DETAILED BUILDING
- 18. THANK YOU