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PETER EISENMAN

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PETER EISENMAN

  1. 1. “The real architecture only exists in the drawings and the real building exists outside the drawing. Architecture and the buildings are not the same.” Peter Eisenman
  2. 2. Peter Eisenman • American architect known for his radical designs and architectural theories. • Notable for his involvement with Derrida’s Deconstructivist projects and his pioneering use of computer-aided • designs. He is often characterised as a deconstructivist. • “ Form formalism to weak form”. • He mainly deals with form in all its declinations :Formalism, de-composition.
  3. 3. Wexner Center for the Arts
  4. 4. • 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. Wexner Center for the Arts CONCEPT LINKING THE PAST TO THE PRESENT THROUGH THE USE OF UNCONVENTIONAL MEANS
  5. 5. LINKING THE PAST TO THE PRESENT THROUGH THE USE OF UNCONVENTIONAL MEANS Wexner Center for the Arts
  6. 6. Interior pathway Design process Wexner Center for the Arts
  7. 7. The City of Culture, Galicia
  8. 8. DESIGN IDEOLOGY HISTORICAL STREET PLAN OF THE MEDIEVAL CENTER OF SANTIAGO IS OVERLAID ON TOPOGRAPHIC MAP OF THE HILLSIDE SITE, WHICH OVERLOOKS THE CITY MODERN CARTESIAN GRID IS LAID OVER THESE MEDIEVAL ROUTES. TOPOGRAPHY OF THE HILLSIDE DISTORTS THE TWO FLAT GEOMETRIES, GENERATING A TOPOLOGICAL SURFACE THAT REPOSITIONS OLD AND NEW IN A SIMULTANEOUS MATRIX NEVER BEFORE SEEN SANTIAGO’S MEDIEVAL PAST APPEARS NOT AS A FORM OF REPRESENTATIONAL NOSTALGIA BUT AS A NEW YET SOMEHOW FAMILIAR PRESENCE FOUND IN A NEW FORM. MUSEUM OF GALICIA INTERNATIONAL ART CENTER CENTER FOR MUSIC AND PERFORMING ARTS GALICIAN ARCHIVES SERVICES BUILDING PEDESTRIAN STREETS PUBLIC PLAZA BORDERED BY THE SIX BUILDINGS LANDSCAPE AND WATER ELEMENTS MOVEMENT PATTERN
  9. 9. MEMORIAL FOR MURDERED JEWS, BERLIN
  10. 10. ALSO KNOWN AS THE HOLOCAUST MEMORIAL, IS A MEMORIAL IN BERLIN TO THE JEWISH VICTIMS OF THE HOLOCAUST. PROJECT STARTED IN APRIL 2003. IT WAS INAUGURATED ON MAY 10’ 2005, SIXTY YEARS AFTER THE END OF WORLD WAR II 2711 CONCRETE STELAE (95 CM X 2.37 M) HEIGHTS VARYING FROM LESS THAN A METER TO 4 METERS MEMORIAL FOR MURDERED JEWS, BERLIN
  11. 11. CONCEPT MEMORIAL FOR MURDERED JEWS, BERLIN
  12. 12. MEMORIAL FOR MURDERED JEWS, BERLIN • NO SPECIFIC PATH TO FOLLOW • LONELINESS • THE UNDERLYING IDEA BEHIND THE MEMORIAL WAS TO REDUCE THE MEANING OF EXPERIENCE . • THE MEMORIAL IS AN ANALOGY TO EXPERIENCE OF THE CAMPS • BUT ALSO AN ANALOGY TO THE IDEA OF BREAKING DOWN THE RELATIONSHIP BETWEEN EXPERIENCE AND UNDERSTANDING.
  13. 13. Greater Columbus Convention Centre
  14. 14. The Greater Columbus Convention Centre is a convention centre located in downtown Columbus, Ohio, United States, along the east side of High Street. The convention centre was designed by Peter Eisenman, constructed in 1993, and expanded in 1999. These pavilions initiate long, curving volumes which extend back to the truck loading docks along the rear the street facade these volumes coincide with meeting rooms, the grand ballroom, and eating facilities. In the main exhibition space, however, they simply run above the supporting trusses without regard to the structural or spatial grid below. The general plan of the convention centre is quite simple and functional
  15. 15. Greater Columbus Convention Centre
  16. 16. Greater Columbus Convention Centre
  17. 17. HOUSE VI FORCEFUL IMPOSITION ON THE DWELLERS.. A
  18. 18. Purposely ignoring the idea of form following function, Eisenman created spaces that were quirky and well-lit, but rather unconventional to live with. 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.” VI HOUSE
  19. 19. For instance, 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. He made it difficult for the users so that they would have to grow accustom to the architecture and constantly be aware of it. VI HOUSE
  20. 20. Another curious aspect is an upside down staircase, the element which portrays the axis of the house and is painted red to draw attention. There are also many other difficult aspects that disrupt conventional living, such as the column hanging over the dinner table that separates diners and the single bathroom that is only accessible through a bedroom. Eisenman was able to constantly remind the users of the architecture around them and how it affects their lives. HOUSE VI
  21. 21. THANK YOU……

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