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Chifflot, Nicolas. "Le droit administratif de Charles Eisenmann /." Paris : Dalloz, 2009. http://catalogue.bnf.fr/ark:/12148/cb41464715g.
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Chifflot, Nicolas. "Le droit administratif de Charles Eisenmann." Université Robert Schuman (Strasbourg) (1971-2008), 2007. http://buadistant.univ-angers.fr/login?url=https://www.dalloz-bibliotheque.fr/pvurl.php?r=http%3A%2F%2Fdallozbndpro-pvgpsla.dalloz-bibliotheque.fr%2Ffr%2Fpvpage2.asp%3Fpuc%3D5442%26nu%3D28.
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L’œuvre de Charles Eisenmann (1903-1980) est reconnue comme une contribution majeure et originale à la théorie du droit administrtif. Ses Cours de doctorat forment un corpus de grande ampleur embrassant, dans une perspective théorique, les principaux chapitres du droit administratif. L’œuvre de Charles Eisenmann en droit administratif n’a pas fait l’objet d’une lecture d’ensemble, éclairant sa pratique de la disputatio et la restituant dans le projet de l’auteur. Cette thèse se concentre sur ce double aspect, en exposant la méthode critique de l’auteur et en cherchant à déceler les idées substantielles qui animaient, sous le couvert de la science, le propos eisenmannien en droit administratif. Introducteur de l’œuvre de Kelsen en France, Charles Eisenmann a transposé au droit administratif français le critique normativiste du dualisme du droit privé et du droit public, ainsi que celle du dualisme du droit et de l’État. Cette inspiration kelsénienne a guidé son analyse du thème de l’autonomie du droit administratif et sa réfutation des conceptions institutionnelles de l’Administration. En repensant le rapport entre l’administration et le droit, Charles Eisenmann a voulu définir une théorie juridiquement pure du droit administratif. Mais Charles Eisenmann ne fut pas aussi kelsénien que l’on croit. Dans sa théorie de l’action administrative, l’auteur s’est concentré sur les données extra-juridiques qui forment l’objet du droit de l’action administrative, à savoir les individus destinataires des normes. Cette approche lui a permis d’affirmer un positivisme plus sociologique que juridique, établissant une correspondance plus étroite entre validité et efficacité des normes<br>The work of Charles Eisenmann (1903-1980) is recognized as a major and original contribution to the theory of administrative law. His graduate lectures represent a wide body of work encompassing, within a theoretical perspective, the main tenets of administrative law. The work of Charles Eisenmann in administrative law has not heretofore been subjected to a level of analysis that would shed light on his practice of disputatio while putting it into perspective within the author’s vision. This thesis is focused on this dual aspect by exposing the critical method of the author and by attempting to reveal the major ideas that substantiate, under the guise of science, Eisenmann’s thesis in administrative law. Having introduced the work of Kelsen in France, Charles Eisenmann has transposed into French administrative law the normativist criticism of dualism of private law and public law, as well as that of the dualism of the law and the state. This Kelsenian inspiration has guided his analysis of the topic of administrative law autonomy and his refutation of the institutional conceptions of administration. By rethinking the relationship between administration and law, Charles Eisenmann wanted to define a pure legal theory of administrative law. However, Eisenmann was not as Kelsenian as believed. In his theory of administrative action, he focused on extra-judicial considerations that represent the legal object of administrative action, namely the individual recipients of the norms. This approach allowed him to advance a positivism that is more sociological than legal, thus establishing a narrow collaboration between validity and efficacy of norms
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Perren, Claudia. "Dan Graham, Peter Eisenmann - Positionen zum Konzept." Kassel : Kassel Univ. Press, 2005. http://deposit.d-nb.de/cgi-bin/dokserv?idn=982014341.
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Eisenmann, Christine [Verfasser]. "Mikroskopische Abbildung von Pkw-Nutzungsprofilen im Längsschnitt / Christine Eisenmann." Karlsruhe : KIT Scientific Publishing, 2019. http://d-nb.info/1190297450/34.
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Eisenmann, Sina Corine [Verfasser]. "Strukturmechanische Untersuchung von Turbinenscheiben mit integrierten Wärmerohren / Sina Corine Eisenmann." München : Verlag Dr. Hut, 2019. http://d-nb.info/1181515173/34.
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Eisenmann, Sina [Verfasser]. "Strukturmechanische Untersuchung von Turbinenscheiben mit integrierten Wärmerohren / Sina Corine Eisenmann." München : Verlag Dr. Hut, 2019. http://nbn-resolving.de/urn:nbn:de:101:1-2019032222403455531383.
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Eisenmann, Christine [Verfasser], and P. [Akademischer Betreuer] Vortisch. "Mikroskopische Abbildung von Pkw-Nutzungsprofilen im Längsschnitt / Christine Eisenmann ; Betreuer: P. Vortisch." Karlsruhe : KIT-Bibliothek, 2018. http://d-nb.info/1166234282/34.
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Eisenmann, Tobias [Verfasser]. "MRT-morphologische Varianten des Patello-femoralen Gelenkes bei Patienten mit Patellaluxationen / Tobias Eisenmann." Tübingen : Universitätsbibliothek Tübingen, 2020. http://d-nb.info/1224882296/34.
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Thalineau, Joël. "ESSAI SUR LA CENTRALISATION ET LA DECENTRALISATION REFLEXIONS A PARTIR DE LA THEORIE DE Ch. EISENMANN." Phd thesis, Université François Rabelais - Tours, 1994. http://tel.archives-ouvertes.fr/tel-00356228.
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Cette thèse propose une définition des termes de centralisation et de décentralisation par référence à la séparation du pouvoir selon la répartition des facultés de statuer et d'empêcher entre organes centraux et non centraux. En appliquant cette définition à chaque niveau de la hiérarchie des normes elle propose une définition de l'organisation normative des Etats, notamment de l'Etat fédéral et unitaire, modes d'organisation de la production de la norme de deuxième rang, et de l'Etat centralisé et décentralisé, modes d'organisation de la production de la norme de troisième rang, puis elle rend compte, dans ce cadre, de l'organisation du pouvoir normatif en France sous la Vème République. <br />La première partie montre que les termes de centralisation et de décentralisation visent un mode de production des normes juridiques dans un système juridique hiérarchisé dans le cadre de l'exercice par des organes centraux et non centraux des facultés de statuer et d'empêcher dégagées par Montesquieu. <br />La deuxième partie fonde l'opposition entre la centralisation et la décentralisation sur une répartition différente des facultés de statuer et d'empêcher. La centralisation, sans exclure l'existence et la participation d'organes non centraux à la production de la norme, traduit une confusion des facultés au profit d'organes centraux et la décentralisation exprime une division de la faculté de statuer entre organes centraux et non centraux garantie par une faculté d'empêcher réciproque. L'altération de cette réciprocité caractérisera une situation intermédiaire appelée "déconcentralisation". Cette définition des termes permet de définir l'organisation du pouvoir normatif à chaque niveau de la hiérarchie des normes. <br />La troisième partie applique le raisonnement au système normatif français qui offre par son intégration dans des systèmes supra nationaux – Communauté française et Union et communautés européennes – d'une part, et par son organisation normative interne d'autre part, un cadre de réflexion exemplaire.
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Eisenmann, Charlotte [Verfasser]. "Klinische und paraklinische Charakterisierung von Erd- und Baumnussallergikern : die Bedeutung von sIgE und Mastzellmediatoren / Charlotte Eisenmann." Berlin : Medizinische Fakultät Charité - Universitätsmedizin Berlin, 2017. http://d-nb.info/1139255347/34.
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Thalineau, Joël. "Essai sur la centralisation et la décentralisation : réflexions à partir de la théorie de Ch. Eisenmann." Tours, 1994. https://tel.archives-ouvertes.fr/tel-00356228.
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Cette these propose une definition des termes de centralisation et de decentralisation et a partir de celle-ci elle rend compte de l'organisation du pouvoir normatif en france sous la veme republique. A cette fin dans une premiere partie, la demarche montre que ces termes visent des techniques d'insertion des actes d'organes centraux ou non centraux dans l'ordre juridique, structurees autour de la distinction des facultes de statuer et d'empecher degagees par montesquieu. La deuxieme partie fondera l'opposition entre les deux termes sur une repartition differente des facultes de statuer et d'empecher, de telle sorte que la centralisation. Sans exclure l'existence d'organes non centraux, traduira une confusion des facultes au profit d'organes centraux et la decentralisation exprimera une division de la faculte de statuer entre organes centraux et non centraux garantie pour ces organes, par une faculte d'empecher reciproque. L'alteration de cette reciprocite caracterisera une situation intermediaire appelee "deconcentralisation". Cette definition des termes permet d'apprehender l'organisation du pouvoir normatif dans tout systeme juridique hierarchise. Le raisonnement est appliquee au systeme francais dans la troisieme partie, dans la mesure ou l'integration de la france dans des systemes juridiques supra-nationaux d'une part et la diversite de son organisation normative interne d'autre part offraient un cadre de reflexion exemplaire<br>This thesis propounds a definition of terms pertaining to the centralization and decentralization and from these definitions the thesis presents a discourse about the organization of the normative authority under the 5th republic. For this purpose the proceedings shaw, in the first part, that these terms relate to the insertions technics concerning the acts of the centralized and noncentralized administration in the field of jurisdiction, which are structured so as to distinguish between the power to decree and to ipede, as has been defined by montesquieu. The second part creates a base for the opposition between the tho terms on a different redistribution of the power to decree and to impede so that the centralization, without excluding the existence of the noncentralized judical administration, which will create confusion concerning this power, and this, to the benefi t of the centralized judical administration. Besides that, the decenralization will provoke a division of the power to decree between the centralized administration and noncentralized administration which is guaranteed for them by the mutual authority to impede. The change of this reciprocity characterizes an intermediate situation which is called "deconcentralization". This definition of terms gives tise to fear fo the organization of the normative autority in the entire hierarchical legal system. On one hand, this reasoning is applied to the french legal system in the third part as far as the integration of france into the super national juridical systems is concerned, while, on the other hand, the diversity of her internal nominative organization provides an exemplary frame of concepts
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Gullo, Simona. "Metodi e strumenti per l'analisi e valutazione del rischio dal cantiere alla manutenzione: caso di studio Eisenmann Italia." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2020.
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Lo scopo della tesi è quello di porre l’attenzione su un tema che passa, ancora oggi, troppo spesso in secondo piano: si tratta della tutela della sicurezza e della salute del lavoratore. Si è voluto analizzare il processo evolutivo, partito dagli anni ’50, che ha portato all’attuale normativa italiana, in cui sono indicati i documenti obbligatori da produrre per valutare e prevenire i rischi all’interno dei luoghi di lavoro. L’obiettivo specifico è quello di approfondire i metodi e gli strumenti di valutazione del rischio nell’ambito dei documenti prescritti dalla normativa, ovvero PSC, POS, DVR, DUVRI. Questi aspetti sono stati trattati prima dal punto di vista prettamente della letteratura scientifica e della normativa esistente, procedendo poi all’applicazione al caso studio di Eisenmann Italia. È stata analizzata la realizzazione, e successiva manutenzione, dell’impianto di verniciatura all’interno di una nota casa automobilistica italiana. Lo studio fatto si riferisce all’individuazione dei rischi riscontrati all’interno della specifica area del magazzino automatizzato durante le fasi di cantiere, di commissioning e di manutenzione. Una volta effettuata l’analisi dei rischi presenti, sono state indicate le misure di prevenzione e protezione adottate per la loro riduzione, ottenendo così la valutazione definitiva dei rischi residui. Si è passati poi alla rappresentazione grafica delle aree di rischio con lo scopo di utilizzare un metodo innovativo nell’ambito della valutazione dei rischi.
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Hammad, Shymaa [Verfasser], Laurenz [Gutachter] Volkmann, and Maria [Gutachter] Eisenmann. "Developing foreign language skills through songs and educational games : an empirical study / Shymaa Hammad ; Gutachter: Laurenz Volkmann, Maria Eisenmann." Jena : Friedrich-Schiller-Universität Jena, 2019. http://d-nb.info/1206542667/34.
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Eisenmann, Monika [Verfasser], Etienne [Akademischer Betreuer] Emmrich, Etienne [Gutachter] Emmrich, Raphael [Gutachter] Kruse, and Mechthild [Gutachter] Thalhammer. "Methods for the temporal approximation of nonlinear, nonautonomous evolution equations / Monika Eisenmann ; Gutachter: Etienne Emmrich, Raphael Kruse, Mechthild Thalhammer ; Betreuer: Etienne Emmrich." Berlin : Technische Universität Berlin, 2019. http://d-nb.info/1201725011/34.
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Eisenmann, Michael Simon [Verfasser], Kathleen [Gutachter] Wermke, and Mario [Gutachter] Cebulla. "Entwicklung, Testung und Anwendung von PRAAT Skripten zur semi-automatischen Vokalisationsanalyse im Rahmen der Vorsprachlichen Diagnostik am ZVES / Michael Simon Eisenmann ; Gutachter: Kathleen Wermke, Mario Cebulla." Würzburg : Universität Würzburg, 2021. http://d-nb.info/1226669905/34.
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Yamamoto, João Carlos Amaral. "Entre Eisenman, Berlim e o Memorial." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/16/16134/tde-28072014-102026/.
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A pesquisa lançou um olhar sobre a produção arquitetônica de Peter Eisenman e sobre a cidade de Berlim, buscando centrar-se na análise de uma obra específi ca, o Memorial dos Judeus Assassinados da Europa. O texto construído é uma reunião de instantâneos de percurso, de fragmentos de uma narrativa imaginada e interpretada pelo verbal. Tentando construir uma análise que contemplasse de alguma maneira a dimensão da experiência da obra, foi promovido o cruzamento com comentários e análises escritas em outros momentos, com refl exões feitas a partir de achados de pesquisa, com recortes de textos e imagens e desenhos analíticos feitos ao longo do trabalho. Assim, o conjunto de três capítulos procura desenhar um percurso análogo ao desenvolvido ao longo da pesquisa, procurando permanecer atento ao suporte texto/imagem de uma dissertação e condensando o processo de três anos no relato fi ccional de uma jornada de um dia. No primeiro capítulo é feita uma espécie de panorâmica cronológica da obra de Eisenman que, no entanto, não conta a sua história, mas a do pesquisador seguindo a trilha deixada pelo arquiteto. No segundo capítulo a jornada ganha tempo e espaço com a sequencia que narra a chegada à cidade de Berlim e o percurso até o Memorial dos Judeus Assassinados da Europa, cuja análise é feita no terceiro capítulo.<br>This research takes an overview of the architectural output of Peter Eisenman and more generally, the city of Berlin. The research then focusses on an analysis of a single specifi c work, the Memorial to the Murdered Jews of Europe. The text itself is constructed from moments in a perambulation of the work and fragments of an imagined narrative. As an attempt to construct an analysis which contemplates the physical experience of the work, this method interlaces commentaries and analyses made at different times, refl ections on fi ndings of the research and snippets of text, images and drawings made during the course of the research. As a whole, the three chapters seek to illustrate the route taken during the research. Whilst remaining aware of the need to support the text/images of a dissertation, the text aims to condense the process of three years of research into the fi ctional story of a single day. The fi rst chapter gives a chronological overview of the works of Eisenman. This is not recounted as a history of the works, but as an account of the researcher following the trail left by the architect. The second chapter gains time and space with a sequence that narrates the arrival of the researcher in Berlin and the journey to the Memorial to the Murdered Jews of Europe. The analysis of the Memorial itself is contained in the third chapter.
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Perren, Claudia. "Dan Graham, Peter Eisenman - Positionen zum Konzept." Kassel Kassel Univ. Press, 2005. http://www.upress.uni-kassel.de/abstractsf̲r/3-89958-173-3.html.
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LUCENA, FRANCISCO PALMEIRA DE. "PETER EISENMAN: CRITICAL AUTONOMY OF THE ARCHITECTURE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2010. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=16784@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR<br>Face à quebra do projeto de autonomia modernista e do esgotamento do debate
desconstrutivista da década de 1980, tem-se agora a produção de uma arquitetura
contemporânea desinteressada no diálogo crítico da disciplina e mais preocupada com
as possibilidades do projeto e da construção de edificações espetaculares e
autoindulgentes. Neste contexto, a concepção de autonomia crítica da arquitetura’ de
Peter Eisenman aparece como uma voz de resistência aos impositivos históricos
culturais de espaço e poder. Partindo da ideia de ‘interioridade da arquitetura’ o autor
propõe uma autonomia crítica de caráter paradoxal, que tanto aponta para o interior e
tradição da disciplina quanto se desdobra para além de seus limites. A abordagem
deste tema depende de uma leitura atualizada da obra do arquiteto o que nos leva ao
reconhecimento - desde seus primeiros projetos e escritos - de suas estratégias críticas
a respeito da autonomia arquitetônica e sua rasion d’être.<br>Given the rupture of modernist autonomy project and the exhaustion of the
deconstructivist debate in the 1980s, there is now the production of a contemporary
architecture indifferent to the critical dialogue of the discipline and more concerned
about the possibilities of design and construction in spectacular and self-indulgent
buildings. In this context, the conception of critical autonomy of the architecture’ by
Peter Eisenman appears as a voice of resistance to the historical cultural impositions
of space and power. Starting from the idea of insideness of architecture’ the author
proposes a critical autonomy of paradoxical character, which points to both the
interior and tradition of the discipline and it unfolds beyond its limits. The approach
to this subject depends on an updated reading of the architect’s work which leads us
to the recognition - since his first projects and writings - of his critical strategies
regarding the autonomy of architecture and its rasion d etre.
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Gerber, Andri. "Peter Eisenman und die Utopie der erzählenden Stadt." Zürich, 2008. http://e-collection.ethbib.ethz.ch/view/eth:30448.
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Tuntas, Karaman Duygu. "Layering As An Architectural Operation: Peter Eisenman'." Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614740/index.pdf.
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This thesis suggests the concept of layering as a &ldquo<br>generative&rdquo<br>operation in architectural design process. To understand generation of architectural forms and trace their transformations in this process, this study proposes layering as an integrative and intellectual operation embracing analysis, design and representation phases of architecture. In order to do that, the operation of layering is discussed under three titles: Layering as an analytical tool, as a design tool and as a representational tool. This means that, &ldquo<br>layering&rdquo<br>can operate to understand complex forms (to analyze), to generate space (to design), and to communicate in design process (to represent).
In this context, for a deeper inquiry into the operation of layering, House II designed by Peter Eisenman is analyzed. The complex and layered form of House II addresses an extensive formal analysis that attempts to reveal the formations and transformations of layers constituting the building. Considering the building as a formal system, &ldquo<br>layers&rdquo<br>are defined as the fragments of the whole, and &ldquo<br>layering&rdquo<br>is conceptualized as the main operation that organizes relationships between these fragments. These analyses reveal the multi-layered formation of House II.
Creating an architectural system, the operation of layering has the capacity to organize varied architectural elements by defining relationships in-between them.
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Perren, Claudia [Verfasser]. "Dan Graham, Peter Eisenman - Positionen zum Konzept / Claudia Perren." Kassel : Kassel Univ. Press, 2005. http://d-nb.info/982014341/34.
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Koukoutsi-Mazarakis, Valeria E. 1962. "Résidences secondaires : how Eisenman houses fictive structures of history." Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/75534.
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Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1989.<br>Includes bibliographical references (p. 109-114).<br>Writing, designing and building constitute three moments in the representation and organization of reality and fiction in architecture. These three interdependent moments joined by fragile links disrupt the boundaries between architectural criticism and practice in architecture and promote interaction between the critic and the practitioner. My thesis focuses on the link between writing and designing. Peter Eisenman exemplifies the architect's transitory position between writing and designing. His interdisciplinary investigations look for architecture's other possibilities through criticism and practice, thus engaging architecture in interpretive activities.Writing will be examined not as a critical tool for design, but as an instrumental device that leads to design. On the one hand, language as a critical device explicitly grounds Eisenman's postponment of questions concerning architecture for architecture's benefit from the realm of ideas. On the other hand, its use as an instrumental device implicitly demarcates potential formal aspects of language as an agent of Eisenman's design and my own investigation in new modes of criticism of architecture. I structure this essay on a dual analysis of the case study by displacing architectural criticism from its house to another house, that of literary criticism, architecture's residence secondaire. While, architectural criticism is concerned with questions of understanding the interdependent mechanisms of form, function and ideas with respect to space, time and representation, literary criticism reveals the dislocating mechanisms of Eisenman's fictive structures of his own history in time. My interest in interactive criticisms advocates an open-ended process that writes and re-writes an event in different texts.<br>by Valeria E. Koukoutsi.<br>M.S.
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Cofer, Douglas G. "Rediscovering architecture : a comparative analysis of Aldo Rossi and Peter Eisenman." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23124.
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Chrobák, Tomáš. "Pour la patrie, pour les slaves : les slavisants français et leur rôle dans la vie publique (1863-1920)." Paris 1, 2008. http://www.theses.fr/2008PA010664.
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L'ambition de ce travail n 'est pas de présenter au lecteur une histoire exhaustive des études slaves dans la deuxième moitie du 19e et au début du 20e siècle. Les recherches nécessaires dépasseraient largement les limites de cette thèse. Notre objectif est d'en donner une image plus restreinte et plus personnifiée, de porter notre attention sur quelques personnages, qui nous offrent I'image d'intellectuels engages, profondément ancres dans leur époque, et qui ne sont pas des hommes de cabinet, mais souvent des hommes d'action. Parmi les hommes susceptibles de nous intéresser, nous avons choisi quatre personnages à même de documenter le parcours des intellectuels slavisants de 1863 à 1920 dans les milieux et les situations les plus divers. Apres longue réflexion, nous avons arrêter notre choix sur Louis Leger, Ernest Denis, André Mazon et Louis Eisenmann. Ces personnages nous apportent les formes différentes de l'instrumentalisation de la science.
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Izar, Gabriela. "Diagramática: descrição e criação das formas na arquitetura seriada de Peter Eisenman." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/16/16136/tde-05092015-111523/.
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Essa pesquisa objetiva examinar o papel do diagrama nas casas seriadas do arquiteto americano Peter Eisenman e evidenciar a base formal de seu trabalho de projeto. Trabalha-se com a hipótese de que seus diagramas são a priori, isto é, antecedem as questões de programa, e que seu trabalho diagramático forja um contexto que faz das obras os objetos de uma rede de relações de formas e de significados. A partir do início dos anos sessenta, o diagrama passa a ser a chave de seu projeto teórico, que tem como problema de fundo o mito de uma arquitetura autônoma, formulada na fronteira entre as disciplinas da semiótica, da fenomenologia, da cognição e da filosofia. Nessa fronteira, o diagrama participa operativamente da ideia de uma arquitetura conceitual que não se afirma simplesmente pela presença do edifício, mas fundamentalmente por relações lógicas que constituem a base da abordagem formalista da arquitetura. Em princípio, a tese apresenta os diferentes significados que o diagrama assume nas várias áreas do conhecimento e procura destacar a contribuição de Eisenman na investigação sobre o papel operativo do conceito no projeto arquitetônico. Segue-se a esse tópico a contextualização da agenda teórica de Eisenman a partir de sua inserção no ambiente cultural inglês, quando ele assimila o recorte analítico de seu mentor, Colin Rowe, para formular a sua primeira crítica ao funcionalismo. Como contraponto à ideia de que Eisenman aborda os diagramas como um a priori formal, examina-se os conceitos de diagrama e de forma na tese de doutorado de Christopher Alexander, texto em que ele defende uma visão mecanicista do diagrama como solução extensiva do projeto. A partir desses contextos, desenvolve-se um exame do papel dos diagramas nas leituras do precedente histórico que Eisenman empreende em análises formais de obras modernistas e de obras do arquiteto italiano Giuseppe Terragni. Tomando-se como premissa que seu trabalho analítico começa já na construção dos textos críticos, evidencia-se as bases formais dos diagramas do texto de Eisenman e a transposição dessas bases para o conjunto de estudos de casas que ele reúne como uma série de objetos numerados, de 1 a 11 A. A partir do levantamento e da classificação de um grande volume de registros gráficos e de escritos sobre essas obras, descrevem-se as referências e as articulações dos diagramas que constituem a pré-história do experimento de projeto de Peter Eisenman. Como conclusão, retorna-se aos textos do autor, escritos durante e após os projetos das casas, para se apontar a opção de Eisenman por fundamentar seu discurso com conceitos da linguística e da filosofia, em detrimento de uma explicitação do diagrama como sua chave formal e conceitual, para ler e para construir a arquitetura. A partir da constatação de que o diagrama de Eisenman é um dispositivo de linguagem que lhe permite discutir as regras da representação e as convenções do discurso sobre a forma de dentro do exercício de projeto, considera-se que seu trabalho diagramático coloca a perspectiva de um modo de conhecimento autônomo, fundado na racionalidade formal.<br>This research examines the role of the diagram in the series of houses designed by American architect, Peter Eisenman, and underlines the formal basis of his design work. The hypothesis is that his diagrams are a priori, meaning they precede any issues in the program, and that his diagrammatic work creates a context that makes the projects objects in a network of relationships of forms and meanings. From the early 1960s, the diagram became the key to his theoretical thinking, which has, as its basic problem, the myth of an autonomous architecture, formulated on the border between the disciplines of semiotics, phenomenology, cognition, and philosophy. On this border, the diagram takes an operative part in the idea of a conceptual architecture that does not simply affirm itself by the presence of the building but fundamentally by logical relationships that form the basis of a formalistic approach to architecture. The first chapter presents the main meanings a diagram assumes in different areas of knowledge and seeks to highlight Eisenman\'s contribution to the investigation into the operative role of the concept in an architectural project. This chapter is followed by the contextualization of Eisenman\'s theoretical agenda, from its insertion into the English cultural environment, when he assimilates the analytical approach of his mentor, Colin Rowe, then to formulate his first critique of functionalism. As a counterpoint to the idea that Eisenman addresses diagrams as a formal a priori principle, the concepts of the diagram and form in the doctorate thesis by Christopher Alexander are examined, a text in which he advocates a mechanistic view of the diagram as an extensive design solution. From these contexts, an examination is developed, about the role of diagrams in historical readings that Eisenman uses in his formal analysis of modernist works, and in the works by the Italian architect, Giuseppe Terragni. Assuming as a premise that his analytical work already starts with the construction of critical texts, the fifth and sixth chapter highlight the formal basis of the diagrams in Eisenman\'s text, and the transposition of these basis for his houses studies, which he gathers together as a series of numbered objects, from 1 to 11 A. Based on a archival survey, on the classification of a large volume of project records and writings about these works, the chapter eighth describes the prehistory of Peter Eisenman\'s design experiment: the diagram\'s references and articulations extensive to the whole series. In conclusion, the author\'s texts, written during and after the house projects, are returned to in order to identify Eisenman\'s decision to base his ideas on concepts from linguistics and philosophy, rather than on an explanation of the diagram as the formal and conceptual key, with which he read and constructed architecture. After noting that Eisenman\'s diagram is a device of language that allows him to discuss the rules of architectural representation and the conventions of discourse on how to exercise it within a project, it is considered that his work with diagrams develops in the perspective of an autonomous mode of knowledge, based on formal rationality.
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Meier, Alexis. "Destins de traces : pensée et formes de l'architecture « conceptuelle » chez Peter Eisenman." Paris 8, 2008. http://www.theses.fr/2008PA083641.
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Notre recherche tente de dégager et de problématiser les mécanismes théoriques et projectuels qui permettent le passage de la pensée à une des formes « contemporaines » de l’architecture : l’architecture « conceptuelle » de Peter Eisenman. Nous examinons comment Eisenman soutient une lecture critique des œuvres d’architecture, qui diffère des approches traditionnelles basées sur le type, le style et la fonction d’un bâtiment. À travers l’étude de projets issus de la linguistique structurale, des formalistes (littéraires et artistiques) et de la déconstruction, nous analysons comment Peter Eisenman met au point, des syntaxes « formelles » qui permettent d’organiser l’environnement spatial de façon plus abstraite et plus fondamentale. Plus largement, l’objectif de cette étude est d’essayer de distinguer les enjeux, difficultés et limites consécutives à la mise en relation de la philosophie contemporaine dans le champ de la conception architecturale et d’en mesurer la réelle portée dans le domaine de la « fabrication » de l’architecture elle-même. Cette problématique pose la question de la constitution de la « forme » architecturale aujourd’hui, sa « structure », sa « généalogie », ses discours et sa légitimité sur le plan expressif et conceptuel. Notre étude aspire également à contribuer à un champ théorique plus vaste, celui des relations qui unissent, au sein d’une œuvre d’architecture, forme, concept et représentation. Le texte est composé de trois parties, portant successivement sur l’anti-fonctionnalisme et l’anti-humanisme d’Eisenman, sur le concept et les usages du « diagramme », et sur la dimension éthique, voire politique, de l’œuvre de l’architecte<br>Our research attempts to reveal and question the theoretical and projectual mechanisms, which articulates thought and forms in one of the "contemporary" of architecture: the "conceptual" architecture of Peter Eisenman. We examine how Eisenman supports a critical reading of architecture works, which differs from the traditional approaches based on the type, the style and the function of a building. Through the study of projects resulting from structural linguistics, formalism (literature and artistic) and deconstruction critics, we analyze how Peter Eisenman develops "formal" syntaxes, which make it possible to organize the space in a more abstract way and produce more fundamental environment. More broadly, the objective of this study is to try to distinguish the stakes, difficulties and limits resulting from the comparison of contemporary philosophy in the field of the architectural design, and to measure its real impact in the field of the construction of architecture apparatus. These issues raise the question of the constitution of the actual architectural "form", its "structure", its "genealogy", its Discourse and its legitimacy at the expressive and conceptual level. Our study also aims at contributing to a broader theoretical field, that of the relations that link within any architectural work, forms, concept and representation. The text is composed of three parts, dealing with the anti-functionalism and the anti-humanism of Eisenman, the concept and the uses of the "diagram", and finally the examination of the possible ethical dimension, even political, of his experimental work
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Aviv, Lee. "The Classical Unconscious: A Critique of the Paradoxical Design Projects of Peter Eisenman." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367943654.
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Zhu, Dan. "Space Syntax Meets Peter Eisenman: Designing the Beijing East Rail Station at Tongzhou." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1243005557.
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Stubbs, Jerome D. "A critical reading of Eisenman's "The end of the classical"." Thesis, Georgia Institute of Technology, 1988. http://hdl.handle.net/1853/21661.
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Chitwood, Heather. "The Aronoff Center for Design and Art at the University of Cincinnati simulating reality /." Cincinnati, Ohio : University of Cincinnati, 2000. http://www.ohiolink.edu/etd/view.cgi?ucin962377073.
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Epp, Colin Brent. "The education of Rosalind Krauss, Peter Eisenman, and other Americans : why the fantasy of postmodernism still remains." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31296.
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Within current art and architectural circles the term postmodernism has a dated air about it. It has long been shorn of its currency in any meaningful dialogue about the state of art and architectural production. Instead, the name recalls for most a notion that was fashionable in the 1970s and 1980s, suggesting a manifold of concepts like historical quotation, allegory, appropriation, pastiche, the culture of late capitalism, the end of grand narratives, the critique of the authorial subject, the collapse of the Enlightenment project, pluralism. Yet, for all this, it has not been properly historicized. This thesis proposes to historicize the production and circulation of the term postmodernism, paying attention to two of its most important sites: October, a journal of art criticism founded in 1976, and Oppositions, an architectural periodical that was first published in 1973. With this aim, I turn to the dialogue between Rosalind Krauss and Peter Eisenman that took place between 1969 and 1976, as each broke ties with certain aspects of her and his intellectual formation represented by Michael Fried and Colin Rowe. The rejection of the latter critics' anti-literalism propels the dialogue. But it was founded on a faultline--one that points to a difference much more significant than supposed between art and architecture, and one that could only be diffused by a discourse on institutions. The political critiques of the institutions of art and architecture that emerged alongside alternative spaces and that were enunciated in October and Oppositions are part of a broader discourse on institutions and have their mirror reflection on the right. Neoconservatives set up their own alternative spaces in corporate-funded think tanks and from there launched their attacks on the liberalism they saw as being entrenched in the institutions supported by government and the university. I argue that the fantasy of postmodernism served to make illegible deep contradictions, not between claims about institutions by left and right, but between the different significations called forth by the figure "institution,'' showing that fantasies of efficiency have a deeper set of effects and conditions than the political claims based on them.<br>Arts, Faculty of<br>Art History, Visual Art and Theory, Department of<br>Graduate
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Schiavo, Bruno. "Autonomia e campo ampliado: Peter Eisenman, Rosalind Krauss e The Institute for Architecture and Urban Studies (1964-1984)." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-20122016-145452/.
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A atualidade é marcada pela descoberta contínua dos interstícios disciplinares como catalisadores de toda sorte de práticas; expressões como \"Campo ampliado\" e \"Complexo artearquitetura\" são chamadas para refletir como tais arranjos acontecem especialmente na confluência entre a arquitetura e as artes. A pesquisa busca localizar, na passagem dos anos 1960 aos 1980, um debate que solicitou desses campos a reconfiguração de seus instrumentos de análise, de crítica, de abordagem à forma, e mesmo uma nova inscrição de seus significados e abrangências: o cruzamento das trajetórias intelectuais da teórica e crítica de arte Rosalind Krauss e do arquiteto e teórico Peter Eisenman no The Institute for Architecture and Urban Studies - IAUS, sediado em Nova York de 1967 a 1985. O instituto colocou-se como núcleo da pesquisa interdisciplinar de seu tempo ao promover cursos, conferências, mostras, publicações, e ao legar dois periódicos especializados que encaminhariam as agendas da arquitetura e das artes nas décadas seguintes, respectivamente, Oppositions: A Jornal for Ideas and Criticism in Architecture (1973-1984) e October (1976 até o presente). O estudo passa pelas proposições questionadoras da primazia do suporte artístico no minimalismo até a cristalização dessas dinâmicas no ensaio \"A escultura no campo ampliado\", de Krauss; e pela verificação, no início dos anos 1960, da necessidade pela reelaboração das questões de relevância para a arquitetura e para o urbanismo, que levariam ao sentido autocrítico investido na noção de autonomia disciplinar, e ao sentido autorreferencial da autonomia da forma arquitetônica, como engendrado por Eisenman. As experiências que assumiriam o espaço físico como constitutivo do trabalho artístico contrastam em diversos níveis com a modalidade conceitual perscrutada por essa arquitetura. Alguns dos pontos de apoio compartilhados pelos movimentos teóricos em questão são as noções de objeto, ambiente, formalismo, linguagem, modernismo e pós-modernismo. Mantendo entre si relações de complementaridade, de reciprocidade, de contradição, o empréstimo a tais categorias entre disciplinas é compreendido em vista de um segundo plano institucional.<br>The current situation is marked by the continuous discovery of the disciplinary interstices as Catalysts of all kinds of practices; Expressions such as \"Expanded Field\" and \"Complexo artearquitetura\" Are called to reflect how such arrangements Confluence between architecture and the arts. The research seeks to locate, over the years 1960 to the 1980s, a debate that called for these areas to reconfigure their Instruments of analysis, criticism, approach to form, and even a new inscription of Their meanings and scope: the crossing of the intellectual trajectories of the theoretical and critical Rosalind Krauss and the architect and theorist Peter Eisenman at The Institute for Architecture and Urban Studies - IAUS, headquartered in New York from 1967 to 1985. The Has placed himself as the core of interdisciplinary research of his time while promoting courses, Conferences, exhibitions, publications, and by bequeathing two specialized journals Would move the agendas of architecture and the arts in the following decades, Respectively, Oppositions: The Journal for Ideas and Criticism in Architecture (1973-1984) and October (1976 to present). The study goes through the questioning propositions of primacy Of artistic support in minimalism until the crystallization of these dynamics in the essay \"The sculpture In the extended field \", by Krauss; And the verification, in the early 1960s, of the need By the re-elaboration of issues of relevance to architecture and urbanism, which Would lead to the self-critical sense invested in the notion of disciplinary autonomy, and to the sense Self-referential autonomy of the architectural form, as engendered by Eisenman. At Experiences that would take physical space as constitutive of artistic work contrast In several levels with the conceptual modality examined by this architecture. Some of Points of support shared by the theoretical movements in question are the notions of Object, environment, formalism, language, modernism and postmodernism. Keeping each other Relations of complementarity, of reciprocity, of contradiction, the loan to such Between disciplines is understood in view of a second institutional plan.
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Sheeks, Andrew V. "Scripted Narratives as Architectural Process." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1384849920.
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Bodart, Céline. "Architecture et déconstruction, remises en jeu d'une rencontre : raconter, traduire, hériter." Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080112.
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Cette thèse s'adresse à un domaine de recherche nommé "architecture et philosophie". La spécificité de ce domaine s'inscrit dans la question d'une coordination possible entre ces deux disciplines. Afin de mieux comprendre ce à quoi tient ce "et", nous proposons de revenir sur un épisode singulier de son histoire: la rencontre entre la déconstruction derridienne et la culture architecturale anglo-américaine de la seconde moitié du 20e siècle. Trois parties composent la restitution de cette recherche. Premièrement, il s'agit d'étudier comment se raconte cette rencontre depuis différentes situations d'énonciation (anglo-américaine et francophone), afin de mettre en avant comment des réceptions et appropriations culturelles variées conditionnent des poursuites théoriques spécifiques. D'un milieu à l'autre, entre les versions d'une même histoire, il y a de l'écart. L'objet principal de la thèse est alors d'investir l'écart entre ces versions par la mise en traduction de certaines traces de son histoire (Wigley 1993; Kipnis 1997). La seconde partie propose d'expérimenter comment traduire aujourd'hui en français ce qu'ont produit les Derridean years de l'architecture. Enfin, il s'agit de reconsidérer l'héritage de cette rencontre comme un problème à construire, en vue de remettre en jeu l'histoire longue et oscillante de l'hospitalité des discours de l'architecture. Cette thèse est une focale construite sur un épisode de l'histoire récente. En proposant d'en expérimenter de nouveaux modes d'énonciation, nous soutenons l'hypothèse que ces modes spécifiques permettent de transformer et ré-engager notre attention sur les conditions de rencontre entre architecture et philosophie<br>This thesis addresses a field of research named "architecture and philosophy". The specificity of this field is related to the question of a possible coordination between these two disciplines. In order to better understand what this "and" holds, we propose to return to a singular episode in its history: the encounter between the Derridean deconstruction and the Anglo-American architectural culture of the second half of the 20th century. The restitution of this research is composed of three parts. First, we study how this encounter is recounted trough different institutional and intellectual contexts (Anglo-American and French speaking contexts), in order to highlight how various cultural receptions and appropriations condition specific theoretical pursuits. From one context to another, between versions of a same story, there is a gap. The main purpose of the thesis is to invest such a gap between these versions by putting in translation some traces of its history (Wigley 1993, Kipnis 1997). The second part proposes to experiment how to translate today into French what the Derridean years of architecture produced. Finally, it is a question of reconsidering the inheritance of this encounter as a problem to build, in order to put into play the long and oscillating history of the hospitality of architectural discourses. This thesis is a focal point built on an episode of recent history. By proposing to experiment with new modes of recounting, we support the hypothesis that these specific modes make it possible to transform
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Farnia, Shalmani Hamed. "Architecture contemporaine et théorie de la déconstruction : le processus architectural à l'épreuve de la philosophie." Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAC005/document.
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Dans cette thèse, nous nous intéressons aux relations spécifiques entre l’architecture et la philosophie dans une période bien précise de l’histoire de l’architecture. Notre recherche consiste en une analyse approfondie du processus de la conception architecturale approchée à partir de la philosophie de la déconstruction. Il ne s’agit pas d’aborder de façon générale le domaine trop vaste des emprunts que les architectes peuvent faire à la philosophie, mais bien de se limiter à une entrée beaucoup plus précise, en partant d’une interrogation portant sur les relations que les architectes dits «déconstructivistes» entretiennent avec un courant de la philosophie connu, depuis les écrits du philosophe français Jacques Derrida, sous cette même appellation de «philosophie de la déconstruction». L’enjeu est d’étudier le processus de conception architecturale, son passage par des concepts et son aboutissement dans des formes, en le référant à la philosophie et en se demandant en particulier comment les architectes utilisent des références philosophiques. Pour arriver à une assimilation plus rigoureuse de la pensée déconstructive en architecture, l’architecte American : Peter Eisenman a proposé une interprétation du processus de conception architecturale proche de la logique textuelle. Ce processus s’appellera chez Eisenman la «décomposition». Notre problématique majeure sera d’essayer de comprendre quels outils à la fois théoriques et pratiques utilisent les architectes contemporaines afin de restructurer une conception architecturale influencée par la pensée déconstructive ? Le but était d’arriver à donner à la déconstruction en architecture un aspect et une définition précis, au-delà loin des seules images métaphoriques que certains architectes peuvent proposer de cette notion. De là dépendait le choix des œuvres analysées comme exemples de ce mouvement, mais aussi l’élucidation que nous tentions du processus de conception architecturale issu de cette notion de déconstruction. Notre but était de parvenir à donner une figure esthétique, théorique, fonctionnelle et opérationnelle à un mouvement architectural. Nous avons construit notre projet de recherche autour de quatre problématiques et hypothèses majeures qui résument de façon générale le chemin parcouru. La première interrogation vise l’origine de ce mouvement, dans la mesure où il est au croisement de ses deux disciplines divers, la philosophie et l’architecture. Est-il possible que ce mouvement soit le fruit d’une transformation philosophique en architecture, détaché de toute théorie architecturale antérieure ? Ou bien n’est-il que le développement d’une ou plusieurs idéologies antérieures en architecture ? Notre deuxième interrogation est orientée vers une compréhension de la source philosophique – les écrits de Jacques Derrida – et le processus d’une critique de la métaphysique chez le philosophe. Qu’est-ce que la déconstruction? La troisième interrogation vise une analyse concrète entre les données philosophiques et les œuvres architecturales. Comment l’architecture, art de construction par excellence, peut-elle devenir une déconstruction d’elle-même ? Dans quelle (s) limite (s) est-il possible de réduire la déconstruction à des connaissances définissables, comme semble malgré tout l’exiger l’architecture ? Ainsi, la dernière interrogation principale de notre projet vise l’impacte de ce mouvement sur l’architecture en globale et l’architecture contemporaine<br>In this thesis, we focus on the specific relationship between architecture and philosophy in a specific period in the history of architecture. Although our research analyzes the process of architectural design through the philosophy of deconstruction, it does not generally address too broad field of philosophy. In fact, the project undermines the effects of the philosophical method of deconstruction on architecture and the so-called deconstructivists' concern with "philosophy of deconstruction" known from the writings of the French philosopher Jacques Derrida. In other words, the challenge is to study the process of architectural design, its association with concepts and its effect on forms, by referring to philosophy and in particular by claiming how architects use the philosophical references. To achieve a more precise assimilation of deconstructive thought in architecture, American architect Peter Eisenman proposed an interpretation of the architectural design process close to the textual logic. For Eisenman, this process is called "decomposition". Our major issue is to try to understand what theoretical tools and practices are used at the same time by the contemporary architects to restructure an architectural design influenced by the deconstructive thought. The aim is to give the deconstruction in architecture, a specific dimension and precise definition, far beyond the few metaphorical images that may offer some architects of thisconcept. Although we require analyzable projects to achieve a clear-cut definition, we have tried to elucidate the architectural design process resulting from the notion of deconstruction. Our goal is to achieve an operational, functional, theoretical and anaesthetic figure in an architectural movement. We have carried out our research project around four major issues and assumptions that generally summarize achieved progress. The first question examines the origin of this movement, in so far as it is at the crossroads of two different disciplines, philosophy and architecture. Is this architectural movement theresult of a philosophical transformation in architecture apart from any previous ideologies in architecture or is it the product of the development of one or more ideologies ? Our second question is directed towards an understanding of the philosophical source in the writings of Jacques Derrida and the process of critique of metaphysics for him. What is deconstruction ? The third question is about the concrete analysis between philosophical data and architectural works. How architecture, art of construction by excellence, become a deconstruction itself ? To what extent is it possible to reduce the deconstruction to a definable knowledge that the architecture can use it ? Thus, the last main question of our project highlights the impact of this movement on architecture in global and contemporary architecture
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Dorfman, Beatriz Regina. "Arquitetura e representação : as Casas de papel, de Peter Eisenman e textos da desconstrução, de Jacques Derrida, anos 60 a 80." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/17917.
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Os avanços científicos e tecnológicos e a superação dos paradigmas filosóficos que fundamentaram o pensamento moderno provocaram profundas modificações na representação, ao longo do século XX. A arquitetura e a filosofia, como as mais diversas manifestações contemporâneas associaram-se nessas mudanças. Nas décadas de 1960 a 80, os trabalhos do arquiteto Peter Eisenman e os do filósofo Jacques Derrida partiram de questões da linguagem e da representação e propuseram uma série de rupturas em termos formais e conceituais. Este processo ganhou expressão na arquitetura e em sua representação e obteve projeção internacional na exposição que deu nome ao fenômeno que ficou conhecido como arquitetura desconstrutivista. Após este período, as obras do arquiteto e o pensamento do filósofo seguiram por caminhos diferentes. Arquitetura e representação: as Casas de papel de Peter Eisenman e textos da desconstrução em Jacques Derrida, anos 60 a 80 analisa obras selecionadas do arquiteto e do filósofo que abordam questões da linguagem e da representação. Discute conceitos da desconstrução, que permanecem válidos para a arquitetura contemporânea, e relaciona-os com outras modalidades de expressão artística. Demonstra que não há correspondência entre a filosofia da desconstrução e o fenômeno que ficou conhecido como arquitetura desconstrutivista.<br>Scientific and technological advances and the passing by of philosophic paragons witch founded modern thought promoted deep changes in representation, all over XX century. Architecture and philosophy, as many of the contemporary expressions are associated in this changes. In the decades of 1960 to 80, the works of the architect Peter Eisenman and of the philosopher Jacques Derrida began from questions of language and representation and proposed a series of breakings in formal and conceptual terms. This process had expression in architecture and in its representation and was internationally known in the exposition that gave name to the phenomena and is known as deconstructivist architecture. After this period, the works of the architect and the thinking of the philosopher followed different ways. Architecture and representation, Paper houses by Peter Eisenman and texts of deconstruction by Jacques Derrida, years 60 to 80 analyses selected works of the architect and of the philosopher about language and representation. Discusses questions and concepts of deconstruction, that keep on valid to contemporary architecture, and searches for relationships other modalities of artistic expression. Demonstrates that there is no correspondence between philosophy of deconstruction and the phenomena that became known as deconstructivist architecture.
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Renno, Silvia de Alencar. "Existe uma experiência estética do usuário nosdiscursos da arquitetura contemporânea?: aproximações a partir das categorias críticas dePeter Eisenman e Bernard Tschumi." Universidade Federal de Minas Gerais, 2006. http://hdl.handle.net/1843/RAAO-72JQNT.
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From analysis of some texts by two great contemporary architects Peter Eisenman e Bernard Tschumi the purpose is to investigate whether the discourses about contemporary architecture contemplate the users aesthetic experience and to what extent. Since Benjamins diagnosis of cultural situation carried out in the 1930s denounces a poverty state of experience, studying the current situation inarchitectural context has become intriguing, which goes through the relationship between body an architecture, the characterization of a user participating in an experience, as well as the variations of aesthetic experience concepts. Peter Eisenman, with his initial emphasis on the investigation of a possible autonomy in architecture, focuses his discussions more on the formal question than on spatial, setting aside from the process of architectural formation any external factors,including the user, to whom a role of reader is attributed. However, the architect alters his position in dealing with the concepts of looking back and fold in his last text herein analyzed, which made him regard as fundamental the question of the users experience. The same is seen in Bernard Tschumis discourses, which are strongly marked by the belief in the space/event duality. For him architecture is not only formal conception but also includes the activities which occur in space and theexperience of the movement of bodies in its interior, which shows clearly Tschumis defense for a relationship between subject and object as indispensable for the architectures formation.<br>A partir das análises de alguns textos de dois grandes arquitetos contemporâneos Peter Eisenman e Bernard Tschumi busca-se investigar se os discursos sobre arquitetura contemporânea contemplam a experiência estética do usuário, e em que medidas o fazem. Uma vez que o diagnóstico da situação cultural feito por Benjamin nos anos 1930 denuncia um estado de pobreza da experiência, torna-se instigante um estudo da situação atual no contexto arquitetônico, o qual perpassa pela relação do corpo com a arquitetura, a caracterização de um usuário participante de uma experiência, assim como as variações dos conceitos de experiência estética. Peter Eisenman, com sua ênfase inicial na investigação de uma possível autonomia da arquitetura, concentra suas discussões mais na questão formal do que espacial, desvinculando do processo de formação arquitetônica qualquer fator externo a ela, inclusive o usuário, ao qual atribui o papel de leitor. Entretanto, no último texto aqui analisado o arquiteto altera sua postura ao tratar dos conceitos de looking back e de dobra, o que o levou a considerar como fundamental a questão da experiência do usuário. O mesmo se percebe nos discursos de Bernard Tschumi, os quais são fortemente marcados pela crença na dualidade espaço/evento. Para ele, a arquitetura não é apenas concepção formal mas abrange também as atividades que acontecem no espaço e a experiência dos movimentos dos corpos no seu interior, o que mostra claramente a sua defesa por uma relação entre sujeito e objeto como indispensável para a formação da arquitetura.
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Nyikos, Julia. "Paradigme commun dans la création architecturale et littéraire : Peter Eisenman, Péter Esterházy, Rem Koolhaas, Winfried Georg Sebald, Claude Simon, Bernard Tschumi." Paris 8, 2009. http://www.theses.fr/2009PA082999.
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La logique et l'organisation interne des textes littéraires se trouvent rarement comparées ou confrontées à celles des espaces paysagers et architecturaux. L'enjeu de nos recherches est de réfléchir sur les conditions de faisabilité d'un tel dialogue : existe-il un champ commun pour traiter ensemble des œuvres appartenant à des formes d'expressions très distinctes, à savoir l'architecture et la littérature, est-il possible de l'élaborer ? Ce ne sont pas les éléments de base, les composants d'un ensemble qui doivent être confrontés à leurs "homologues" dans un système différent, puisque ceux-ci relèvent plutôt des spécificités incomparables. En revanche, les rapports qui s'établissent entre les constituants d'un système peuvent montrer des similitudes intéressantes et qui offrent une base commune à la démarche comparative. Notre hypothèse part de l'idée qu'il serait important de déceler un paradigme commun dans la création et dans la configuration du sens dans les œuvres artistiques contemporaines, et ce au-delà des limites disciplinaires. Nous tentons de mener les investigations à partir d'un corpus contemporain en choisissant cependant des auteurs et des architectes dont le commencement du travail remonte aux années 1960 ou 1970. Les analyses sont majoritairement focalisées sur des productions plus récentes, car un des problèmes principaux de cette étude est de savoir si à une époque donnée des structures de pensée et des méthodes de constitution de sens peuvent être repérées dans des domaines et dans des modes d'expressions différents<br>The logic and internal construction of literary texts are seldom compared with those of landscape and architectural spaces. The aim of our research is to elaborate the feasibility and the conditions of such a relationship : whether it exists or it is possible to develop a common field to deal simultaneously with works belonging to very distinct forms of expression, i. E. Architecture and literature. It is not the components of a work of art that should be compared to their "counterparts" in a different system as they are incomparable specificities. Instead, the connections developing between the components of a system can display similarities which may establish a common basis for a comparative process. Our hypothesis stems from the idea that it would be important to find, beyond the boundaries of disciplines, a common paradigm in the creation and configuration of meaning of contemporary artworks. Although we study a contemporary corpus, the work of the selected authors and architects has begun in the 60s or 70s. The analyses mainly focus on more recent works for one of our main problems is to reveal whether, in a given period, structures of thinking and methods of constitution of meaning can be detected in different fields and modes of expression
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Sheeks, Andrew V. "Scripted Narratives as Architectural Process." University of Cincinnati / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1397233150.
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Allepuz, Pedreño Ángel. "Trazas del pensamiento. Procesos gráficos en los dibujos autógrafos de los arquitectos modernos, desde su inicio en Borromini hasta el final del siglo XX." Doctoral thesis, Universidad de Alicante, 2019. http://hdl.handle.net/10045/109835.
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Este trabajo de investigación considera a la arquitectura como una actividad artística y atribuye un valor cognitivo a tal práctica. Trata de la relación que hay entre los dibujos autógrafos de los arquitectos y los procesos de creación vinculados al proyecto arquitectónico, al objeto de desvelar los procedimientos gráficos específicos seguidos por un grupo significativo de arquitectos y poner de manifiesto las ideas, pensamientos y valores asociados. Este tipo de dibujos se desarrollan en series donde se documentan los procesos de formalización, y en ellos queda registrado el pensamiento creativo. Los dibujos consignan las trazas de un pensamiento efímero. Como se colige, ha sido necesario estudiar previamente la naturaleza del dibujo arquitectónico en cuanto pensamiento y representación. Las nociones de pensamiento visual y gráfico se explican a la luz de la filosofía empirista y analítica, la psicología cognitiva, la percepción, y la neurociencia; estudiando cómo se aplican en los campos de conocimiento científico y artístico, desde sus orígenes gestálticos hasta la neuroestética contemporánea. Hemos tratado dos de sus posibles dimensiones de la noción de representación: la teoría de la representación en los sistemas simbólicos y notacionales tal y como lo desarrolla Nelson Goodman en su estudios sobre el valor cognitivo de la práctica artísticas, con especial incidencia en el dibujo de los arquitectos; y, por otro lado, la teoría clásica de la representación iniciada por Alberti, la formulación en la Ilustración y su revisión en el último tercio del siglo XX enunciada por Rossi y Moneo. Toda innovación material extiende el horizonte del pensamiento. Unas determinadas condiciones materiales permiten operar desde el dibujo con extraordinaria seguridad y autonomía, superando la necesidad de verificación empírica mediante la construcción. -El uso de un instrumental propio de geómetras, que aúna precisión y reversibilidad en los procesos creativos originando un pensamiento visual y gráfico dinámico. -La geometría proyectiva, que garantiza y anticipa la integridad formal de la futura construcción. -El desarrollo de un alto grado de codificación, que aproxima los dibujos del arquitecto a un sistema notacional. El interés por los procesos de formalización es consustancial a la escuela formalista centroeuropea de la crítica y la historia del arte, e identifica el contenido de la obra artística con su propio formarse, desvinculando a las obras arquitectónicas de campos de significados extraños a la propia estructura formal de la obra. Esta idea atraviesa el siglo con fortaleza. Hemos desvelado su rastro en la estética de Adorno y Pareyson y cómo adquiere una enorme relevancia con el surgimiento de las neovanguardias de los años sesenta. En arquitectura, el proceso de formalización no tiene lugar en la obra, sino en el proyecto, y el modo en que ha quedado registrado es el dibujo autógrafo. Pensamos que el análisis formalista tuvo una aplicación retroactiva sobre las obras de Borromini, —razón de su revalorización contemporánea —. Gran parte del valor que se atribuye a su obra corresponde a aquello que podemos estudiar en sus colecciones de dibujos autógrafos. Los procesos de formalización siguen siendo el argumento que sanciona y legitima la obra de gran parte de los arquitectos del último tercio del siglo XX. Estudiamos tres casos extremos: Peter Eisenman sostiene que toda arquitectura, como trabajo intelectual de raíz racional, está depositada en los dibujos. Se fundamenta en procedimientos abstractos de matriz geométrica, donde se opera desde el dibujo, lugar donde radica todo lo que la arquitectura sea, con independencia de que sea experimentada, o no, bajo el formato de una obra construida. Steven Holl está interesado en la experiencia inmanente. La experiencia de la obra es el origen de una vía cognitiva de raíz fenomenológica. Sigue un procedimiento inductivo que parte de la realización de dibujos que capturan las manifestaciones aisladas de los fenómenos captables por los sentidos, a partir de los cuales configura un modelo completo y coherente. Siza es un maestro que concilia sabiamente ambas pulsiones. Los modelos de transformación de una arquitectura sancionada por su fundamento tipológico como consecuencia de las fuerzas que, provenientes de las condiciones locales, tensiona la forma. Siza, en cierto modo aúna el valor de los procedimientos de configuración de raíz gráfica con la consideración hacia el modo en que dibujos, una vez que se desencadene la construcción del edificio, sea experimentados por los usuarios. Hemos fijado con claridad cuáles son estos procedimientos gráficos específicos, hemos identificado su origen en Borromini y hemos estudiado sus epígonos en cada uno de los tres arquitectos contemporáneos. Hemos mostrado cómo operan desde el dibujo en los procesos de formalización que culminan el proyecto. Con la irrupción de la digitalización los procedimientos basados en el dibujo autógrafo, aunque no abandonados completamente, permanecen ocultos.
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VonderBrink, David Thomas. "Architectural Phenomenology: Towards a Design Methodology of Person and Place." Oxford, Ohio : Miami University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1185571813.
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Pierron, Nathalie. "Architecture et culture aux Etats-Unis depuis la fin des années soixante : la déconstruction à l'oeuvre." Aix-Marseille 1, 1999. http://www.theses.fr/1999AIX10012.
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Replace dans le contexte d'une tradition specifique de l'urbain, celle des etats-unis, et des mutations que cette derniere connait a la fin des annees soixante, le concept theorique et esthetique de deconstruction est rapporte ici tant a l'hypothese d'une crise du symbolique dans l'espace de l'amerique post-moderne, qu'au role equivoque, dans cette crise, d'une conception autonome et abstraite du langage architectural. Traquant dans ses restrictions formalistes et elementaristes, dans ses interets plus discursifs ou theoriques que pratiques, la relativite de l'auto-critique a laquelle cette discipline se serait livre au cours des annees soixante-dix, ceux-ci servent a mettre en evidence son impossibilite a etablir une distance reelle vis a vis du modele esthetique, linguistique, poetique et surtout technologique, en vigueur. Dans l'optique d'une auto-analyse a laquelle se seraient exerces quelques architectes americains d'importance, le role ambivalent d'un essai theorique redige par deux des texas rangers (portant sur la distinction reel/virtuel), et ses effets historiques sur leurs proches, essentiellement john hejduk ou peter eisenman, sont ensuite precises. L'entree de l'architecture dans l'ere mediatique s'accompagne en effet des orientations esthetiques, formelles et surtout didactiques donnees a son instrumentation, quelques unes des ambiguites de la culture architecturale americaine du debut de ce siecle s'en trouvant renforcees, qu'il s'agisse de son rapport a l'histoire, a la machine, de son interet pour les questions de structure comme du role central de l'art dans ses interrogations sur la representation - et a travers elle bien sur, sur sa signification. A la vue de cette filiation, se justifiait des lors la mise en doute de la nouveaute du standard de la discontinuite des experiences deconstructivistes de la fin des annees quatre-vingts, l'accession de ces dernieres a la construction correspondant, en outre, avec l'internationalisation de la desideologisation de la production urbaine, c'est-a-dire finalement, avec le renforcement de l'existence de l'architecture comme forme autonome.
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CLARKE, JOSEPH. "INDEXING THE ARBITRARY." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148058132.
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Ozdemir, Ali Yucel. "An Inquiry Into The Concept Of." Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12615034/index.pdf.
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This thesis makes a survey on conception of &ldquo<br>surface&rdquo<br>in the works of Peter Eisenman. In doing so, the concept of &ldquo<br>surface&rdquo<br>is discussed under three titles: &ldquo<br>Surface&rdquo<br>as an element of architectural vocabulary (as a formal element), as an analytical tool (as a grammar), and as a diagrammatic tool. Correspondingly, the thesis is intended to examine how &ldquo<br>surface&rdquo<br>is conceptualized and handled through the critical readings of Eisenman&rsquo<br>s writings, and projects are referred in order to support and visualize the discussions. In this context, Eisenman&rsquo<br>s dissertation, The Formal Basis of Modern Architecture (1963), reveals the definition of architectural surface in relation to the architectural language that is proposed by him. Through the formal analysis of Giuseppe Terragni&rsquo<br>s building, Casa Guiliani Frigerio, he utilizes surface as an analytical tool. Considering design processes of his projects, as discussed in the book Diagram Diaries (1999), surface becomes a dominant tool for generating architectural form. As a result, in this thesis, surface is evaluated in various aspects (as a formal, analytical and diagrammatic tool) that are essential for understanding of architectural form. In the case of Eisenman, its significance dominates the way of developing his architecture.
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BOTHIREDDY, HARITHA. "SYNTACTIC AND SEMANTIC ROLE OF ORNAMENT IN ARCHITECTURE." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179339778.
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Smit, Reynard. "The Gavel and the Ghost." Diss., University of Pretoria, 2013. http://hdl.handle.net/2263/32811.
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This thesis explores an alternative method of making Architecture based on ideas presented by Bruno Latour in “Give me a gun and I will make all buildings move” and concepts discussed by Peter Eisenman within “Diagram: An Original Scene of Writing.”
The static nature of representation within Euclidian Space requires a re-evaluation of the generative qualities inherent within diagrams. Managed through an identified mechanism, the thesis investigates the excavation of potential within Pretoria Central’s lost spaces by generating programme, response and resolution from elements inherent in the diachronic context.<br>Dissertation MArch(Prof)--University of Pretoria, 2013.<br>Architecture<br>MArch(Prof)<br>Unrestricted
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Field, Luke V. "The Temporal Dimension of Architecture." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1236114237.
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Eisenmann, Michael [Verfasser]. "Struktur-basiertes Wirkstoffdesign neuer Aldose-Reduktase-Inhibitoren / von Michael Eisenmann." 2007. http://d-nb.info/990207617/34.
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Eisenmann, Christoph [Verfasser]. "Schmelzen von anisotropen kolloidalen Kristallen in zwei Dimensionen / vorgelegt von Christoph Eisenmann." 2004. http://d-nb.info/973216824/34.
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Eisenmann, Tamara [Verfasser]. "Synthese neuartiger Zinkverbindungen unter Verwendung N, N'-chelatisierender Liganden / vorgelegt von Tamara Eisenmann." 2010. http://d-nb.info/1010880721/34.
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