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Relevant bibliographies by topics / Peter Eisenman

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Academic literature on the topic 'Peter Eisenman'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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Journal articles on the topic "Peter Eisenman"

1

Mubarrok, Noor Zakiy. "‘DISPLACEMENT’, KRITERIA DEKONSTRUKSI PETER EISENMAN." Jurnal Arsitektur KOMPOSISI 11, no. 3 (2016): 149. http://dx.doi.org/10.24002/jars.v11i3.1238.

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Abstract: The implementation of deconstruction in architecture presents an extraordinary building, that no rarely lob the name of the designer, no exception for an American architect and theorists, Peter Eisenman. ‘Displacement’ is the notion of Peter Eisenman contains some criteria to implement deconstruction in architecture. The purpose of this research is to explore the thoughts and views of Peter Eisenman about deconstruction in architecture, especially about the notion of ‘displacement’, and its application in the design.Keywords: architecture deconstruction, displacement, peter eisenman Abstrak: Penerapan dekonstruksi dalam arsitektur, menghasilkan karya arsitektur yang luar biasa, yang tak jarang melambungkan nama perancangnya, tak terkecuali Peter Eisenman, seorang arsitek dan teoritikus kebangsaan Amerika. Displacement, merupakan ide yang dicetuskan Peter Eisenman berisi kriteria-kriteria yang harus dipenuhi sebagai upaya menerapkan dekonstruksi dalam arsitektur. Tujuan dari penelitian ini adalah untuk mengeksplorasi pemikiran serta pandangan Peter Eisenman tentang dekonstruksi dalam arsitektur terutama tentang ide Displacement, serta aplikasinya pada rancangan.Kata kunci: dekonstruksi dalam arsitektur, displacement, peter eisenman

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Gleiter, Jörg. "Peter Eisenman: Or how to eliminate what one becomes." SAJ - Serbian Architectural Journal 6, no. 3 (2014): 228–37. http://dx.doi.org/10.5937/saj1403228g.

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Peter Eisenman is the Icarus of post-avant-garde architecture and has numerous highly regarded, controversial built structures to his name - such as the Memorial to the Murdered Jews of Europe in Berlin and the Ciudad de la Cultura de Galicia in Santiago de Compostela. How to eliminate what one becomes - this is one way of summarizing one of the most decisive features of Eisenman's architectural praxis: the disappearance of the author. Displaying his disdain for individual style in the arts, Eisenman regularly threw Michel Foucault's question "what is an author?" into debates on architecture. However, the death of the author - "la mort de l'auteur"1 first proposed by Roland Barthes - was not an end in itself for Eisenman. For it is only the follow-up question "what is critique?"2 that illuminates the role of the elimination of the author in the negativity aesthetics of Eisenman's architectural praxis: it is the dialectics of the critique of reason and epistemology. In that sense, Eisenman's theory of architecture constitutes an important - if not uncontroversial - contribution to critical architectural philosophy.

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Krause, Daniel. "»Misreading Peter Eisenman«." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 51. Heft 2 51, no. 2 (2006): 127–35. http://dx.doi.org/10.28937/1000107606.

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Derrida, Jacques, and Hilary P. Hanel. "A Letter to Peter Eisenman." Assemblage, no. 12 (August 1990): 6. http://dx.doi.org/10.2307/3171113.

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Passaro, Andrés Martin. "Jorge Luis Borges e Peter Eisenman, Narrativa e Arquitetura." Pós. Revista do Programa de Pós-Graduação em Arquitetura e Urbanismo da FAUUSP, no. 5 (April 19, 1995): 7. http://dx.doi.org/10.11606/issn.2317-2762.v0i5p7-15.

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O trabalho pretende fazer uma análise comparativa entre as obras do escritor Jorge Luis Borges e do arquiteto Peter Eisenman. Para isto foram escolhidas La casa de Asterión que nada mais é que um conto do livro El Aleph de Borges1 e Guardiola House2, uma casa do arquiteto Eisenman. A idéia do trabalho é encontrar uma analogia entre ambas produções, e surgiu a partir da leitura da crítica aos trabalhos de Peter Eisenman, em que comparecem indicações de similitude entre o pensamento deste arquiteto e o do escritor. Procurou-se fazer leitura de Borges em vários de seus livros passando por textos do tipo "labirínticos ou abissais"3 (como observou Otilia Arantes...4)

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Garcia, Elizabeth, and Otavio Leonídio. "Arabesco e Grotesco na arquitetura de Peter Eisenman." Revista Prumo 5, no. 8 (2020): 82–95. http://dx.doi.org/10.24168/revistaprumo.v0i8.1265.

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This paper intends to highlight the effectiveness of the concepts of Arabesque and Grotesque in the architecture “between” of Peter Eisenman, evoking a whole system of concepts and methodologies that synchronously led his work.

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Mastrigli, Gabriele, and Alessandro Toti. "Operative differences: Eisenman, Tafuri and the lesson of Piranesi." SAJ - Serbian Architectural Journal 6, no. 3 (2014): 238–55. http://dx.doi.org/10.5937/saj1403238m.

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Peter Eisenman is an architect. His field of action, although related to a multiform set of interests, is the investigation of the theoretical foundation of the architectural discipline. Architecture, as an artefact as well as a project, can be seen as the most evident representation of the traditional opposition of Western metaphysics: absence and presence. The task of the architect, according to Eisenman, is therefore to intervene analytically in this dialectical condition and make it operable. From this point of view, Eisenman's approach to the discipline - as well as his entire, lifelong architectural journey - is observed in the light of the work of Giovanni Battista Piranesi. Going beyond the critique made by the Italian architecture historian Manfredo Tafuri, Eisenman explored the possibility of a new interpretation of the dialectic between positive and negative, electing the notion of ground as the very place of this opposition. The Berlin Memorial to the Murdered Jews of Europe offers the final representation of this dialectic, opening it to a further, unparalleled working field.

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8

Rolfsen, Amund. "Peter Eisenman and the possibility of an aesthetic formalism." SAJ - Serbian Architectural Journal 11, no. 3 (2019): 543–52. http://dx.doi.org/10.5937/saj1903543r.

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Formal considerations constitute the core aspect of Peter Eisenman's work. Arguably, they are the only consistent theme of his work, and are based on the concept that architecture is a mediation between the embodied internal world of human beings and the external physical world which we inhabit. Eisenman thus gives form a 'conceptual' rather than perceptual basis, whereby universal formal relationships are more important than sensual aspects. This leaves architecture as a syntactic operation based on reason and logic, with apparent formal relationships as is its main justification. The understanding and development of an inherent formal language becomes the main goal in such an approach, and meaning is disregarded in its extrinsic character with a reference to social, historical or other representational traits. In this paper I am discussing Eisenman's views on architectural formalism through the scope of aesthetics. Since he disregarded aesthetic considerations throughout his career, especially beauty, it is fruitful to explore and examine his stance on the properties of architecture as a way to justify his claims of formal primacy. I am basing my analysis on Nick Zangwill's formalist theories, and thus giving primacy to the formal-spatial properties of the architectural object as being judged by the human subject. This could bring back the discussions of formalist aesthetics to architectural theory and makes the judgment of architectural quality a formal issue.

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9

Mentone, Bruno Juliani. "O desamparo do espectador nos projetos de Peter Eisenman da década de 1960." Revista ARA 10, no. 10 (2021): 277–98. http://dx.doi.org/10.11606/issn.2525-8354.v10i10p277-298.

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Leitura do início da carreira de Peter Eisenman, entre 1967 e 1978, identificando críticas desenvolvidas por Michael Hays e Hal Foster que o apontam como produtor de imagens. Aproximando nesse processo da operação que Eisenman faz a partir da abstração moderna e sua influência entre o produtor e o espectador. Condição lida a partir do desamparo como discutido por Vladimir Safatle.

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García-Hípola, Mayka. "PERMANENCIA ALTERADA. LAS CIUDADES DE EXCAVACIÓN ARTIFICIAL DE PETER EISENMAN." Proyecto, Progreso, Arquitectura, no. 4 (2011): 16–29. http://dx.doi.org/10.12795/ppa.2011.i4.01.

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Dissertations / Theses on the topic "Peter Eisenman"

1

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&#039." 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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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 Eisenmann - Positionen zum Konzept." Kassel : Kassel Univ. Press, 2005. http://deposit.d-nb.de/cgi-bin/dokserv?idn=982014341.

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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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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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Books on the topic "Peter Eisenman"

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Eisenman, Peter. Peter Eisenman. Edited by Nakamura Toshio. A + U Publishing Co., 1988.

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Eisenman, Peter. Peter Eisenman. Edited by Nakamura Toshio 1931-. A+U Pub. Co., 1988.

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Brogi, Daniela. Peter Eisenman. Motta architettura, 2007.

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Eisenman, Peter. Tracing Eisenman: Peter Eisenman complete works. Rizzoli, 2006.

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Eisenman, Peter. Peter Eisenman: 1990-1997. El Croquis Editorial, 1997.

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Eisenman, Peter. Peter Eisenman: 1990-1997. Edited by Levene Richard C and Márquez Cecilia Fernando. El Croquis Editorial, 1997.

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1932-, Eisenman Peter, Biraghi Marco 1959-, and Purini Franco 1941-, eds. Peter Eisenman: Tutte le opere. Electa, 2007.

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1932-, Eisenman Peter, and Ciucci Giorgio, eds. Peter Eisenman: Opere e progetti. Electa, 1993.

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Eisenman, Peter. Pītā Aizenman sakuhinshū =: Peter Eisenman. Ē ando yū, 1988.

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Eisenman, Peter. Peter Eisenman =: Pītā Aizenman sakuhinshū. A+U Pub. Co., 1988.

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Book chapters on the topic "Peter Eisenman"

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Schwarz, Ullrich. "Eisenman, Peter." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_11014-1.

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Meisenheimer, Wolfgang. "Peter Eisenman." In Modelle als Denkräume, Beispiele und Ebenbilder. Springer Fachmedien Wiesbaden, 2018. http://dx.doi.org/10.1007/978-3-658-20115-9_65.

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Schwarz, Ullrich. "Eisenman, Peter: Visions' Unfolding." In Kindlers Literatur Lexikon (KLL). J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_11015-1.

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Derrida, Jacques. "Why Peter Eisenman Writes Such Good Books." In Reading Images. Macmillan Education UK, 2001. http://dx.doi.org/10.1007/978-1-137-08886-4_16.

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Caliandro, Stefania. "Vibration as a Morphogenetic Force of Creation. Architectonic Dynamics in the Work of Peter Eisenman." In Lecture Notes in Morphogenesis. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-29631-5_3.

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"6. Peter Eisenman." In Dekonstruktivismus in der Architektur? transcript-Verlag, 2015. http://dx.doi.org/10.14361/9783839430293-005.

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"1986 Peter Eisenman." In The Barcelona Pavilion by Mies van der Rohe. De Gruyter, 2020. http://dx.doi.org/10.1515/9783035619935-079.

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"1986 Peter Eisenman." In Mies van der Rohe Barcelona-Pavillon. De Gruyter, 2020. http://dx.doi.org/10.1515/9783035619911-079.

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"Peter Eisenman, Wexner Center, Columbus." In Modern Architecture Through Case Studies 1945 to 1990. Routledge, 2012. http://dx.doi.org/10.4324/9780080940373-20.

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"3D Code: Folding in the Architecture of Peter Eisenman." In On Folding. transcript-Verlag, 2016. http://dx.doi.org/10.14361/9783839434048-006.

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Conference papers on the topic "Peter Eisenman"

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Martinez, Andressa Carmo Pena, Denise Mônaco dos Santos, Douglas Lopes de Souza, and Caio Magalhães Castriotto. "O estudo das operações formais no processo de projeto do arquiteto Peter Eisenman." In XX Congreso de la Sociedad Iberoamericana de Gráfica Digital. Editora Blucher, 2016. http://dx.doi.org/10.5151/despro-sigradi2016-455.

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Jakimowicz, Adam. "RADICAL CONCEPTS AS A CALL FOR CULTURAL RELEVANCE OF ARCHITECTURE IN THE WORK OF PETER EISENMAN." In 5th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS SGEM2018. STEF92 Technology, 2018. http://dx.doi.org/10.5593/sgemsocial2018h/51/s17.033.

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Azulay Tapiero, Marilda. "Arquitectura, dispositivo de experiencia memorial. *** Architecture: a drive of memorial experience ." In 8º Congreso Internacional de Arquitectura Blanca - CIAB 8. Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/ciab8.2018.7604.

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Abstract:

La arquitectura puede introducirnos en la experiencia de la memoria; memoria como reflexión, y arquitectura como dispositivo para la experiencia memorial a la vez que contenedor de la información. Cada objeto es definido en un proceso en el que considerar diversos actores, sus voluntades, opciones y experiencias. Es el caso de las obras que aborda este trabajo, en las que evidenciar e interrogarnos sobre el gesto arquitectónico, la memoria evocada y su interpretación social. Obras que han alcanzado notoriedad por diferentes motivos: como la Sala del Recuerdo, de Arieh Elhanani, Arieh Sharon y Benjamin Idelson (1961) en Yad Vashem, Jerusalén; por su significado científico e histórico, como el Museo de Historia del Holocausto, también en Yad Vashem, de Moshé Safdie (2005); por su relevancia cultural o arquitectónica, como el Museo Judío (Ampliación del Museo de Berlín con el Departamento del Museo Judío) de Daniel Libeskind en Berlín (1999); e incluso por la controversia que han suscitado, como el Monumento en Memoria de los Judíos Asesinados de Europa, también en Berlín, conocido como el Monumento del Holocausto, de Peter Eisenman (2004).***Architecture can introduce us to the experience of memory; memory as reflection, and architecture as a drive for the experience of remembering as well as a container of information. Each object is de ned in a process in which different actors, their wills, options and experiences, are taken into account. This is the case of the artworks addressed by the present communication, in which we reveal and ask ourselves about the architectural gesture, the evoked memory and its social interpretation. Artworks that have achieved prominence for different reasons, such as the Hall of Remembrance, of Arieh Elhanani, Arieh Sharon and Benjamin Idelson (1961) in Yad Vashem, Jerusalem; for its scientific and historical significance, such as the Holocaust History Museum, also in Yad Vashem, by Moshe Safdie (2005); for its cultural or architectural relevance, such as the Jewish Museum (Extension of the Berlin Museum with the Department of the Jewish Museum) by Daniel Libeskind in Berlin (1999); and even because of the controversy they have raised, such as the Memorial to the Murdered Jews of Europe, also in Berlin, known as the Holocaust Memorial, by Peter Eisenman (2004).

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de Albuquerque Montezi, Rafael, and Simone Helena Tanoue Vizioli. "Digital morphogenesis and tectonics: an analysis of Peter Eisenman’s Aronoff Center." In XXII CONGRESSO INTERNACIONAL DA SOCIEDADE IBEROAMERICANA DE GRÁFICA DIGITAL. Editora Blucher, 2018. http://dx.doi.org/10.5151/sigradi2018-1762.

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