Peter Eisenman: I was depressed, and I realized that my intellectual side, or cultural, side, and my entrepreneurial side had gotten way out of whack with where I needed to be. from 1992. And of course the question of scale came in, because I used my House 11a here at three different scales: a real scale or the house scale, and model of the house scale, and then the house becoming the model of a larger project. He holds degrees in architecture and philosophy from the City College of the City University of New York and in architecture and urban design from Harvard University. on the critical design and building issues of our time. Iman Ansari: More than any other contemporary architect, you have sought a space for architecture outside the traditional and conventional realm. Richard Meier considers the duality of public and private space, evident in his dramatic drawings that articulate types of enclosure. They all had a different investigation and started to get into bigger and bigger ideas and include more and more things that the earlier houses dogmatically left out. Indeed, Eisenman is the most important leader in the establishment of a meaningful discourse among architects, theorists and historians. And then when you go into the watchtowers and you walk up and you cannot see anything because there is no viewing out. So we are talking about a post-structural subject. They don’t care if there is anybody in the theatre. Peter Eisenman: Manfredo Tafuri once said something very important to me. Because there was no program. And they have all relevance; they are both in text and in built form. The principles of deconstructivism can be seen in Eisenman’s Wexner Center of Art and Tschumi’s Parc de la Villette where they … Peter Eisenman’s cardboard architecture. The result is a sequentially flowing space rather than random placement. Peter Eisenman: Sometimes it does and sometimes its beyond, and sometimes its less. I can’t think or write ideas on a computer. That’s why you can’t just look at the drawings of Cincinnati, you have to go to Cincinnati and experience the space. No matter how conscious the work seems, a lot of it was swimming under cloudy water trying to find the edge of the pool where I could get out. He is a lecturer in architectural theory at the City College of the City University of New York. But there are so many projects. Peter Eisenman. That’s number one. Iman Ansari: So with that in mind, did you ever wish none of your houses were actually built? Peter Eisenman: Exactly, but I start with the cuts. In other words, you’ll see in Berlin I did the same thing with the grid of 1760, the grid of 1830, and superposition of traces, which is how Rome evolved, how Berlin evolved, how cities evolve; I have always been interested in the evolutionary process of the physical traces left by the previous building. A painter doesn’t care whether somebody understands painting or not; he is interested in the discourse of painting, adding to the knowledge of the painterly. And Berlin is as Cannaregio, but also digging into my own unconscious, producing a project that we don’t know that it’s for the left or the right; in fact the mayor of Berlin said: Look, I can’t build this because everybody is going to hate this project. Title : Peter Eisenman: Theories and Practices: Language : English: Author, co-author : Kormoss, Bernard [Université de Liège - ULiège > Département de la Faculté d'Architecture > Architecture Site Saint-Luc >]: Publication date : 12-Sep-2007 : Institution : Technische Universiteit Eindhoven, Eindhoven, Nederland Peter Eisenman: First of all, it's not a meaningless clue. It is that hinge that Derrida talks about, the hinge between the before and after. He attended the Cornell University, and graduated in 1955. I thought I had to find what I was doing within architecture rather than without architecture. Eisenman’s explorations are dependent on 20th-century technology, in which non-load-bearing walls free the architect from formal limitations imposed by physical requirements. Eisenman's fragmented forms are identified with an eclectic group of architects that have been labelled 'deconstructivists'. Vitruvius was a Roman author and architect, and he is known as one of the first "theorists" in architecture. We see similar approach in your other ‘ground projects’ in that era. Firmitas, utilitas, venustas (solid, useful, beautiful) - that is what an architectural structure should be, at least according to the first man who dared to define these terms and to relate them to architecture. Peter Eisenman (born August 11, 1932 in Newark, New Jersey) is an American architect. Eisenman was born in Newark, New Jersey, and studied at Cornell (B.A. But you can’t say that the memorial has anything to do with the main evolutionary, red thread of my work. The term “new museum” was established in 1989, after the materialization of Peter Eisenman’s and Frank Gehry’s concepts. Chang Qing and Plácido González The Editorial Teams of Built Heritage and Heritage Architecture had the unique chance to interview Professor Peter Eisenman during his stay in Tongji University, where he was invited to launch the Chinese edition of his work The Formal Basis of Modern Architecture (Tongji University Press, 2018). Unlike the early houses that existed almost autonomously, in Cannergio you are suddenly confronted with the idea of a site - a real site, and in fact a very rich one: Venice. You have to build because ideas that are not built are simply ideas that are not built.” Architecture involves seeing whether those ideas can withstand the attack of building, of people, of time, of function, etc. York for his radical designs and architectural theories here are part of a project that knew! That, because I never knew what I was conscious of all, it is process... Like walking in Central Park three phases of my work does not erase the subject your. 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