Peter eisenman phd thesis
The tension between the Modern and the universal, then, can be said to lie with the notion of architectural syntax.
Yale Daily News
During the seminar, students will select works from the Modernist period and analyze their form through drawing. As the course progresses chronologically, students should track formal structures in their moment of emergence and as they are ultimately absorbed into the wider lexicon of architectural language.
Could form be considered both modern AND universal? When do the modern and universal come into conflict?
- Peter D. Eisenman.
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When do they ultimately fail? Eisenman, Peter.
Frampton, Kenneth. Modern Architecture: A Critical History. London ; New York, N. Luo, Xuan. Vidler, Anthony. Course title. Using formal analysis as a method to understand architectural form, this seminar provides students with an understanding of the complexities of current architectural production and helps them to become fluent in the language of form. Students are required to produce weekly drawings and to participate in reading discussions on specific buildings, ranging from Renaissance to contemporary.
Limited enrollment. Students will be asked to consider the following questions: What are the universal qualities of architectural syntax? The course will move chronologically from to January 19 Introduction: Modern vs. At the same time Eisenman has always played a central role in influencing and manipulating the American architectural debate, due to his propagandistic activity, first with the IAUs Institute for Architecture and Urban studies , and then with the magazine Oppositions.
So, despite its immature character, attention should be paid to this text.
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It was actually inspired by the interpenetration of distinct influences: the Gestalt theories, so in vogue at the time, the Russian formalists, and Colin Rowe, who met Eisenman in Cambridge in His first theoretical works, like his doctoral thesis, did not claim the creation of forms ex-novo ; on the contrary, they constituted a heterodox interpretation of several architectural texts.
In fact, Eisenman was interested in displacing form from its necessary relationships to function, meaning and aesthetics, without at the same time necessarily denying the presence of these conditions. To cite Rafael Moneo , we may say that Eisenman built a dichotomous version of his architecture, based on the opposition between the mental the deep structure and the sensorial the superficial structure.
Whereas this phase, defined by Eisenman as the diagrams of interiority , was characterized by the desire to find internal rules and mechanisms for the discipline without any contact with the exterior world, at the end of the s pessimism about architecture and the mission of Modernism enveloped Eisenman: he gradually abandoned his interest in internal syntactic processes and replaced geometry, abstraction and self-referentiality with a recourse to external factors. Architecture thus became for Eisenman a tool to reflect upon the instability of history.
With the project for Cannaregio, Venice , the American architect opened up his theoretical discourse to external solicitations proceeding from other territories and borrowed concepts like context, metaphor, history, and memory. So, Cannaregio marked the transition from interiority to exteriority and Eisenman abandoned Chomsky or Slutzky, in order to find a more appropriate language for explaining the times in which he was living The Cold War.
Thinkers such as Derrida, Deleuze, Foucault, and Lacan, became his new sources of inspiration. From his engagement with the philosophy of Jacques Derrida, Eisenman began to look at architecture as a text: a palimpsest open to multiple readings, whose real nature is indeterminate and unstable. At the same time, the shift from interiority to exteriority was not only characterized by a general pessimism about the failure of the modernist mission.
Goethe University in Frankfurt, Germany, he proposed a scheme derived from the structure of a DNA molecule interpolated through fractal geometry.
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In Deconstruction Eisenman was seeking a new basis for architecture. While architects have traditionally relied on man as the foundation which informed and governed their work, Eisenman considered this position untenable in modern society. Instead he proposed three destabilizing concepts to guide his architecture: discontinuity, recursibility, and self-similarity.
His project for the University Museum at Long Beach, California begun in , embodies these new ideas. Here past, present, and future collide, with the Gold Rush, the founding of the university, and the rediscovery of the museum informing the design process. Eisenman's commitment to linking past and present were also visible in a exhibit at the Canadian Center for Architecture in Montreal called "Cities of Artificial Excavation," which featured eleven of his projects from to Eisenman's work in the s included a city plan for Rebstockpark in Frankfurt, Germany in which he concentrated heavily on a "fold technique.
Eisenman's search for new architectural origins and his continued presence at the forefront of architectural criticism and debate prompt one often repeated question: What's next? Charles Jencks' The Language of Post Modern Architecture effectively sets the stage for Eisenman's work in the s and s, and Geoffrey Broadbent's Deconstruction: A Student Guide furnishes the most accessible entry into the complex world of Eisenman's Deconstruction-based architecture.
Cembarest, Robin. Stamford: Soft Line Information, Inc. Dawson, Layla. Giovannini, Joseph. Jacobs, Karrie.
http://clublavoute.ca/sosat-conocer-a.php Muschamp, Herbert. Zimmerman, David.
Design and Concepts
Post Modern Architecture By the late s Eisenman had emerged as a leader in the Post Modern movement in architecture. Deconstruction Eisenman's later work sprang from an even more complex set of theoretical origins. What's Next?