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Journal articles on the topic 'Peter Eisenman'

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Published: 4 June 2021

Last updated: 8 February 2022

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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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2

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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3

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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4

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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5

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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6

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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7

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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10

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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11

Rossi, Adriana. "Study the Works of Peter Eisenman? Why?!" Nexus Network Journal 1, no. 1-2 (1999): 65–74. http://dx.doi.org/10.1007/s00004-998-0005-1.

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12

Del Castillo Sánchez, Óscar. "Lecturas de Eisenman. La obra temprana de Peter Eisenman y experiencias artísticas contemporáneas." BAc Boletín Académico. Revista de investigación y arquitectura contemporánea 6 (June 14, 2016): 75. http://dx.doi.org/10.17979/bac.2016.6.0.1336.

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13

Nassif, Lucas Ferraço. "Coelhos: tecnologia humana e tecnologia material." POIÉSIS 17, no. 27 (2018): 151. http://dx.doi.org/10.22409/poiesis.1727.151-164.

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14

Olin, Margaret. "The Stones of Memory: Peter Eisenman in Conversation." IMAGES 2, no. 1 (2008): 129–35. http://dx.doi.org/10.1163/187180008x408636.

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15

Leonidio, Otavio. "Eduardo Coimbra: Arquitetura, escultura e desastre." Viso: Cadernos de estética aplicada 9, no. 16 (2015): 27–44. http://dx.doi.org/10.22409/1981-4062/v16i/194.

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O artigo trata da obra recente do artista plástico Eduardo Coimbra, de viés francamente arquitetônico. Para tanto, lança mão do aparato teórico formulado pelo arquiteto e teórico norte-americano Peter Eisenman, em especial suas formulações acerca do que chama de “metafísica da presença”.

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16

Barrera Puigdollers, José Manuel. "Estrategia estética-significante (postestructuralista) en el Memorial del Holocausto." VLC arquitectura. Research Journal 6, no. 1 (2019): 187. http://dx.doi.org/10.4995/vlc.2019.10399.

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<p>Since it was selected in 1998, the Memorial has been immersed in numerous debates that reached a level of controversy throughout 2017. This work conceived by Peter Eisenman and Richard Serra, was modified and carried out only by Peter Eisenman. The debates and controversies amassed have allowed for certain clarifications that exceed the original claims of the authors, but in any case, it seems that they were confirmed in their possibility or in their contingency. These facts show the relationship between the object and subject in the significant act, in its different approaches: from the interaction with the work, the intersubjective relations – self-referent or not – the interaction between subject and object, subject and context, subject and interpretation. Until moving the significant capability from the original indications to the new context, that can in any case re-configure a new sign. In this, the sketch is seen as a post-metaphysical aesthetic structure beyond the concept of an open work; adding the temporal dimension that underlines the distinction between difference and differ, in two moments: the constitution of the sign and its temporary displacement. This exemplifies the concepts of différence and différance by Jacques Derrida, together with the concepts of contamination or the appearance of contraband meanings, including the event that Eisenman longed for.</p>

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17

Marcondes, Natalia C. Tomé, Bruna Bertoldo Marcondes, Eduardo Guimaraes, Fernando Piffer, Juliana Elaine dos Santos, and Korina Costa. "O ROMPIMENTO DA TRADIÇAO NA ARQUITETURA CONTEMPORANEA PETER EISENMAN." Colloquium Humanarum 10, Especial (2013): 369–74. http://dx.doi.org/10.5747/ch.2013.v10.nesp.000472.

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18

Pjesivac, Zeljka. "De- and re-stratification of the urban tissue: Peter Eisenman’s cities of Artificial Excavation projects." Spatium, no. 40 (2018): 1–7. http://dx.doi.org/10.2298/spat1840001p.

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The study investigates the concepts of stratification, destratification and restratification of the urban tissue in Peter Eisenman?s Cities of Artificial Excavation projects. The main thesis of the study is that Eisenman?s Cities of Artificial Excavation performs a transgression of the three fictions on which classical and modern architecture were based by introducing narrative layers of non-classical fiction using strategies of relative destratification, that is, strategies of destratification and associated restratification of the urban tissue. This is a specific type of narrative de- and re-stratification based on a process, that is, on the concept of the disjunctive synthesis of real and imaginary or artificial narratives, which brings into question the traditional concept of (narrative) stratification, the concept of origin, the question of the beginning and end of a narrative line, and the question of true and rational, namely, the traditional line of influences of layers of the past on the layers of the present and potential future. For Eisenman, the layers of the present and potential future do not have to be based on the influences of fixed and unchangeable, a priori layers of the past. On the contrary, they have the potential to change the structure, meaning and significance of the layers of the past. In a wider context, this approach is related to poststructuralist perspectives that aim to break down the established mental structures of thinking and design and provoke different approaches to architectural and urban design, that is, different physical experiences, and the meaning and significance of the built environment.

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19

García Hípola, Mayka. "Conversando con...PETER EISENMAN. Estrategias de proyecto y herramientas de representación." EGA Revista de expresión gráfica arquitectónica 14, no. 14 (2009): 24. http://dx.doi.org/10.4995/ega.2009.10233.

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20

Del Castillo Sánchez, Óscar. "House X, por Peter Eisenman: de la estética de la producción a la estética de la recepción." Bitácora arquitectura, no. 32 (August 26, 2016): 114. http://dx.doi.org/10.22201/fa.14058901p.2016.32.56200.

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<p>La obra del arquitecto Peter Eisenman da un giro radical en sus planteamientos<br />filosóficos a partir del proyecto House X (1975), donde se pasa de una estrategia proyectual centrada en el objeto, a una donde el significado y la participación del sujeto en la lectura del edificio son integrados en la concepción de la obra. Esto es correlativo de una evolución paralela en el ámbito de la filosofía, con el abandono del estructuralismo y el surgimiento de la deconstrucción.</p>

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21

García Hípola, Mayka. "¿Por qué Peter Eisenman hace tan buenos diseños? Tácticas, estrategias y estratagemas." EGA Revista de expresión gráfica arquitectónica 14, no. 14 (2009): 90. http://dx.doi.org/10.4995/ega.2009.10241.

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22

Bernal López-Sanvicente, Amparo. "La maqueta axonométrica de Peter Eisenman: ¿experiencia manierista o estrategia de representación?" EGA Revista de expresión gráfica arquitectónica 23, no. 33 (2018): 142. http://dx.doi.org/10.4995/ega.2018.9047.

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<p>En los años setenta, durante la etapa proyectiva de sus primeras casas, Peter Eisenman desarrolló una investigación paralela sobre el potencial de la maqueta en la representación tridimensional de la arquitectura que culminó con la construcción de la maqueta axonométrica. El nuevo objeto tridimensional, que reunía la abstracción de la axonometría y la materialidad del modelo, se desprendía de la condición meramente figurativa de una maqueta para convertirse en una representación que, a modo de trampantojo, imponía determinados puntos de vista, desde los cuales, la percepción del proyecto suscitaba diferentes interpretaciones. La construcción de la maqueta axonométrica no fue sólo una experiencia manierista aislada porque supuso la confirmación de una estrategia de representación basada en el artificio y la ambigüedad, que puede generalizarse a través de la fotografía.</p>

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23

Carvalho Nunes, Mateus. "DOBRA BARROCA, DOBRA PÓS-MODERNA: DESLOCAMENTO, REPETIÇÃO E TRANS-HISTORICIDADE NA ARQUITETURA." ASAS DA PALAVRA 15, no. 2 (2018): 07. http://dx.doi.org/10.17648/1415-7950-v15n2-1251.

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Este trabalho pretende analisar as manifestações do conceito de “dobra”, proposto por Gilles Deleuze (1925-1995) em “Le pli: Leibniz et le Baroque” (1988), no pensamento barroco e pós-moderno e em suas aplicações no campo da arte e da arquitetura. Objetiva explicitar características convergentes nestes dois momentos, abordados tanto como períodos históricos e estilísticos, quanto pensamentos com essências sobreviventes. Discute sobre a complexidade, deslocamento, repetição, subjetividade e movimento em Francesco Borromini (1599-1667) e em Peter Eisenman (n. 1932) a partir da perspectiva trans-histórica de Aby Warburg (1866-1929).

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24

Dudeque, Irã Taborda. "Contemporâneo de si mesmo: duas residências de Artigas em Curitiba." Risco: Revista de Pesquisa em Arquitetura e Urbanismo (Online), no. 21 (September 30, 2016): 120. http://dx.doi.org/10.11606/issn.1984-4506.v0i21p120-131.

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Este artigo pretende comparar duas residências projetadas por João Batista Vilanova Artigas em Curitiba: Residência Bettega-Portela (1949-1952) e Residência Niclevicz-Bertoldi (1975-1978), a partir de critérios formais e contextuais, a fim de entender eventuais mudanças e permanências na obra do arquiteto. Os critérios formais se baseiam nos métodos de autores como Peter Eisenman, Charles Jencks e Anthony Viedler. A contextualização apela à historiografia da vida privada, a fim de relativizar o entendimento de fatores como a higiene, o conforto, a praticidade e a própria ideia de residência.

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25

Carpo, Mario. "The digital: From complexity to simplicity: And back." SAJ - Serbian Architectural Journal 6, no. 3 (2014): 256–65. http://dx.doi.org/10.5937/saj1403256c.

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At the beginning of the digital turn, in the early 1990s, digitally intelligent architecture was generally perceived as curvilinear, smooth, and streamlined. Why? Computers are extraordinarily versatile machines, and they do not express aesthetic preferences. It is evident that this is not what Peter Eisenman, who was among the inventors of the first digital style in the 1990s, then had in mind. And why is it that today the style of digitally intelligent architecture appears to be changing again? These are (some) issues addressed in this short paper questioning why and how the digital as a tool engages, masters and produces complexity.

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26

Patin, Thomas. "From Deep Structure to an Architecture in Suspense: Peter Eisenman, Structuralism, and Deconstruction." Journal of Architectural Education 47, no. 2 (1993): 88–100. http://dx.doi.org/10.1080/10464883.1993.10734581.

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27

Patin, Thomas. "From Deep Structure to an Architecture in Suspense: Peter Eisenman, Structuralism, and Deconstruction." Journal of Architectural Education (1984-) 47, no. 2 (1993): 88. http://dx.doi.org/10.2307/1425170.

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28

García Sánchez, Rafael. "Concepto y proceso en Peter Eisenman y Sol LeWitt: la disolución de la forma." Liño 24, no. 24 (2018): 85. http://dx.doi.org/10.17811/li.24.2018.85-94.

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En el seno de la pintura y la arquitectura, tuvo lugar a finales de 1960 el desarrollo del arte conceptual. Tal es el caso de una parte de las obras y escritos de LeWitt y Eisenman. Más allá de la corriente abstracta, el arte y la arquitectura conceptuales pretendían la objetividad. La vertiente conceptual no se centraba ni en la finalización del objeto ni en la forma misma, sino en el proceso. Lo conceptual guarda relación con los procedimientos más que con los objetos en sí. En este texto haciendo uso de las nociones de belleza y de juicio que llevara a cabo Kant en la Crítica del juicio, se hará notar que la experiencia de lo conceptual caería del lado de lo meramente intelectual frente a la presencia y experiencia de lo bello, completamente emancipada de finalidad o interés alguno.

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29

RADULOVA, Yana Igorevna. "XXI CENTURY. FEATURES OF FORMATION OF SPACE BORDERS IN ARCHITECTURE AND TOWN PLANNING." Urban construction and architecture 4, no. 3 (2014): 41–46. http://dx.doi.org/10.17673/vestnik.2014.03.8.

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The concept of spatial boundaries is presented as the joints of the two states of the space. The interaction of inside and outside space in contemporary architecture is presented. The features of the boundaries between inside and outside spaces and their possible applications in the architectural objects are considered. Interaction of inside and outside space in architecture can be traced in the works of Toyo Ito, Sou Fujimoto, Kotaro Ide, Jurgen Mayer, Shuhei Endo, Emilio Ambaz, Michael Sorkin, Massimiliano Fuksas, Peter Eisenman, Zaha Hadid. In contemporary architecture the problems of symbiosis of the inside and outside space are successfully solved by such world-renowned architectural companies as Tezuka, SeARC, RSie(n), Formwerkz, Sansiri, FOA, SHoP, UN Studio, NOX.

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30

Schwarz, Ullrich. "¿Qué es hoy moderno? La arquitectura en una sociedad radicalmente modernizada." Anales del Instituto de Investigaciones Estéticas 26, no. 85 (2012): 75. http://dx.doi.org/10.22201/iie.18703062e.2004.85.2186.

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Partiendo del diagnóstico de que la arquitectura actual carece de una profunda legitimación teórica, el artículo perfila los problemas enfrentados al tratar de establecer un discurso serio sobre la producción arquitectónica que rebase los límites del marketing en el star system de arquitectos globalizados como Peter Eisenman y Rem Koolhaas. En contra de la erosión creciente de la importancia cultural de la arquitectura, se propone registrar y revisar las formas arquitectónicas conforme a la idea de la “modernidad reflexiva”, concepto que no se refiere primordialmente a las categorías estilísticas, sino que busca la contextualización social y cultural, con la pretensión de estimular una comprensión compleja de la arquitectura posvanguardista en su espacio y tiempo.

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31

Vesnic, Snezana. "What is an architectural concept? The “concept” of Deleuze and “project” of Eisenman." Filozofija i drustvo 28, no. 4 (2017): 1122–35. http://dx.doi.org/10.2298/fid1704122v.

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Two great theories - one in philosophy, one in architecture - emerge nearly simultaneously in the twentieth century: Gilles Deleuze?s understanding of the ?concept,? that is, defining philosophy as an activity that produces concepts, and Peter Eisenman?s idea of the ?project? as a platform, ?position,? or ?theory? of an architect. My intention is to suggest and problematize the idea of the concept as ?capacity? or ?potentiality? implying the production of a multitude of ?concepts? or varying ?conceptions.? Deleuze?s great significance for architecture of this century allowed for the construction of the ?concept? as ?author?s potential,? the source of activity and creative architectural acts. An architectural concept, determined in the course of the text, and thanks to which architectural terminology is redefined, could potentially be quite useful in philosophy and theory of the subject.

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32

Wysznacki, Karol. "Theory of Architectural, Social Participation and “Contact” by Robert Zemeckis." European Journal of Interdisciplinary Studies 2, no. 3 (2016): 92. http://dx.doi.org/10.26417/ejis.v2i3-92-94.

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The paper shows the importance of memory in architecture and how social participation influence the formation of cultural memory. The article examines the issue of the importance of memory and how the popular culture coexists with highly symbolic places. The research will be conducted on the case of the "Memorial to the Murdered Jews of Europe" in Berlin, built by architect Peter Eisenman. The aim of the paper is to show that architecture of memorials restores ideas and messages to protect the community from future mistakes. Social participation supports shaping public spaces and thus participates in the creation of culture. Article points out that creating memorials is connected with a great responsibility, because they strongly affect our memory and guide future generations.

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33

Wysznacki, Karol. "Theory of Architectural, Social Participation and “Contact” by Robert Zemeckis." European Journal of Interdisciplinary Studies 2, no. 3 (2016): 92. http://dx.doi.org/10.26417/ejis.v2i3.92-94.

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The paper shows the importance of memory in architecture and how social participation influence the formation of cultural memory. The article examines the issue of the importance of memory and how the popular culture coexists with highly symbolic places. The research will be conducted on the case of the "Memorial to the Murdered Jews of Europe" in Berlin, built by architect Peter Eisenman. The aim of the paper is to show that architecture of memorials restores ideas and messages to protect the community from future mistakes. Social participation supports shaping public spaces and thus participates in the creation of culture. Article points out that creating memorials is connected with a great responsibility, because they strongly affect our memory and guide future generations.

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34

Wysznacki, Karol. "Theory of Architectural, Social Participation and “Contact” by Robert Zemeckis." European Journal of Interdisciplinary Studies 2, no. 3 (2016): 92. http://dx.doi.org/10.26417/ejis.v2i3.p92-94.

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The paper shows the importance of memory in architecture and how social participation influence the formation of cultural memory. The article examines the issue of the importance of memory and how the popular culture coexists with highly symbolic places. The research will be conducted on the case of the "Memorial to the Murdered Jews of Europe" in Berlin, built by architect Peter Eisenman. The aim of the paper is to show that architecture of memorials restores ideas and messages to protect the community from future mistakes. Social participation supports shaping public spaces and thus participates in the creation of culture. Article points out that creating memorials is connected with a great responsibility, because they strongly affect our memory and guide future generations.

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35

Wysznacki, Karol. "Theory of Architectural, Social Participation and “Contact” by Robert Zemeckis." European Journal of Interdisciplinary Studies 5, no. 1 (2016): 92. http://dx.doi.org/10.26417/ejis.v5i1.p92-94.

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The paper shows the importance of memory in architecture and how social participation influence the formation of cultural memory. The article examines the issue of the importance of memory and how the popular culture coexists with highly symbolic places. The research will be conducted on the case of the "Memorial to the Murdered Jews of Europe" in Berlin, built by architect Peter Eisenman. The aim of the paper is to show that architecture of memorials restores ideas and messages to protect the community from future mistakes. Social participation supports shaping public spaces and thus participates in the creation of culture. Article points out that creating memorials is connected with a great responsibility, because they strongly affect our memory and guide future generations.

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Pedersen, Claus Peder. "CUBES AND CONCEPTS: NOTES ON POSSIBLE RELATIONS BETWEEN MINIMAL ART AND ARCHITECTURE." JOURNAL OF ARCHITECTURE AND URBANISM 35, no. 1 (2011): 62–66. http://dx.doi.org/10.3846/tpa.2011.07.

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The article discusses the links and interchanges between art and architecture in the late sixties and early seventies with emphasis on the exchanges between conceptual or minimal art and architecture. The basic assumption of the article is that the rigorous conceptualisation that characterised minimal artist was transferred into some advanced architectural practices during the late sixties and early seventies. The text examines relations and differences between artists (mainly Sol Lewitt) and architects (mainly Peter Eisenman) and argues that this discussion is still relevant to current practices exploring the potentials of digital based design through the use of parametrics, scripting etc. The text concludes with an example of design-based research conducted by the author, which reflects on the themes raised in the article. Santrauka Straipsnyje analizuojamos XX a. septintojo dešimtmečio pabaigai ir aštuntojo dešimtmečio pradžiai būdingos kai kurios konceptualizmo ir minimalizmo apraiškos skulptūroje ir architektūroje. Tyrimas remiasi prielaida, kad griežtai konceptualių metodų taikymas iš minimalistinės skulptūros buvo perkeltas į kai kurias progresyvias architektūrines praktikas. Aptariant sąsajas tarp skulptorių, tokių kaip Sol Lewittas, ir architektų, tokių kaip Peteris Eisenmanas, siekiama atskleisti, kad jų kūryboje plėtotos idėjos vis dar išlieka aktualios šių dienų meninėje architektūros kūryboje, tiriančioje kompiuterinio projektavimo galimybes, naudojant parametrinį modeliavimą, veiksmus automatizuojantį programavimą (scriptingą). Analizė iliustruojama modeliais, kuriuos autorius per meninį tyrimą sukūrė pritaikęs straipsnyje nagrinėtus metodus.

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Kordic, Milena. "Epistemology of architectural design from interdiscursive knowledge exchange to design strategy." Theoria, Beograd 57, no. 2 (2014): 39–64. http://dx.doi.org/10.2298/theo1402039k.

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Tracing the influence of philosophical theories on architecture, the paper explores possibilities to expand the theoretical platform that allows for creation of new design methodological models. If, as a contemporary cultural context, we assume the shift in understanding of the world from determined and rational to multiple, temporal, and complex, then the (architectural) design models are moving from static and fixed to balanced dynamic systems. In such dynamic systems, order and disorder are pulsing toward each other continuously. In this paper, the transformation of existing to new design methodological models are investigated on an example of resonance of Gilles Deleuze?s philosophical ideas and thought-creative models of architect and theorist Peter Eisenman. Identifying the formative conditions for design methodology models, the paper introduces an open-end in the design methodology structure, from which the emergence of new creative models is possible.

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Major, Mark David, and Nicholas Sarris. "Cloak-and-Dagger Theory: Manifestations of the Mundane in the Space of Eight Peter Eisenman Houses." Environment and Planning B: Planning and Design 28, no. 1 (2001): 73–88. http://dx.doi.org/10.1068/b2671.

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Estrella, Lisseth. "Problema y ejemplo: Los nueve cuadrados y la transformación del edificio fundacional de la Cooper Union." Estudios del hábitat 18, no. 1 (2020): 083. http://dx.doi.org/10.24215/24226483083.

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Enseñar con el ejemplo es parte fundamental de la estrategia pedagógica de John Hejduk. Sin mayores explicaciones, Hejduk relaciona su proyecto de transformación del edificio fundacional de la Cooper Union con el problema de los nueve cuadrados. Es un caso singular porque el edificio, lugar de la escuela de arquitectura, presenta a sus alumnos el ejemplo del problema utilizado para introducirlos a la arquitectura. Con información de archivo y referencias de personas que formaron parte de la escuela en este período – John Hejduk, Peter Eisenman, Rafael Moneo y Lorna McNeur - el artículo identifica que tanto problema como ejemplo comparten la misma estructura y define el método para relacionarlos: utilizar los nueve cuadrados como herramienta de análisis aplicando los conceptos de centro-periferia, fluidez-contención y estructura-plemento. El resultado del trabajo ha llevado a comprender el contenido analítico del problema en relación con las herramientas del arquitecto: el paso de la planta a la sección en relación con los conceptos de espacio y tiempo.

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박하나. "Rethinking Deconstructivist Architecture with Gilles Deleuze’s Fold Theory: Focused on Frank O. Gehry, Rem Koolhaas, and Peter Eisenman." Journal of History of Modern Art ll, no. 25 (2009): 7–29. http://dx.doi.org/10.17057/kahoma.2009..25.001.

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Stojanović, Đorđe. "What is architectural research today and where is the ground?" SAJ - Serbian Architectural Journal 6, no. 3 (2014): 266–76. http://dx.doi.org/10.5937/saj1403266s.

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Why make large structures from rubber bands with students of architecture? How does such an endeavour relate to architectural education? And if rubber band structures are neither buildings, nor models of buildings, but experiments of some sort, what kind of knowledge do they generate relevant to construction industry and the built environment? These are some of the issues which have surfaced at the conference "ISSUES? Concerning the projects of Peter Eisenman" held in Belgrade in November 2013. They are related to a string of design research projects recently completed at the University of Belgrade - Faculty of Architecture and documented in the thematic volume of Serbian Architectural Journal titled "Architectural Education in the Post Digital Age" which was published independently but almost concurrently with the conference. In continuity with arguments given in that publication, this paper will provide a brief overview of some relevant and generally accepted theories and manifestos related to design research methodologies, providing grounds for the current work at the Faculty of Architecture, University of Belgrade.

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Beşlioğlu, Bahar, and Ayşen Savaş. "Fleabite: Gordon Matta-Clark and programmatic experimentation." Architectural Research Quarterly 16, no. 2 (2012): 125–36. http://dx.doi.org/10.1017/s1359135512000449.

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Gordon Matta-Clark (1943–1978), one of the lesser known architects of the second half of the twentieth century, studied architecture at Cornell University between 1962 and 1968. Although he had always been part of an active circle of artists and architects with whom he shared his radical ideas, Matta-Clark was generally excluded from the architectural milieu since his proposed interventions were thought to be unsuitable for accommodation. His exclusion from the architectural scene was marked; following his Window-Blow-Out(s) project in 1976, as Mary Jane Jacob has pointed out, his colleagues – including Peter Eisenman and the members of the Institute for Architecture and Urban Studies (IAUS) – found it very hard to accept an architect with a BB gun in hand. The removal of the facade in the 1974 Bingo project; the elimination of the thresholds in the 1973 Bronx Floors; or the cut to a suburban house in the 1974 Splitting project were all evaluated as temporary, and destructive in the making; and were thus regarded as artistic actions to transform buildings into objects. As such, his critical architectural productions remained overshadowed behind a series of seemingly violent artistic intrusions.

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Bourbonnais, Sébastien. "Quand l’ordinateur devient générateur de forme – Retour sur l’expérience du Fractal Studio." SHS Web of Conferences 82 (2020): 01006. http://dx.doi.org/10.1051/shsconf/20208201006.

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En 1987 s’est tenu le Fractal Studioqui a permis la rencontre entre Chris I. Yessios et Peter Eisenman et qui peut certainement être considéré comme un moment clé dans le changement des mentalités par rapport au rôle à accorder à l’informatique dans les pratiques architecturales. Afin de comprendre ce basculement, il sera présenté, au travers des recherches de Yessios, quelques-uns des enjeux de la conception assistée par ordinateur au tournant des années 80, comme l’opposition entre la projection orthogonale et la modélisation volumétrique. Pour le Fractal Studiola question comment représenter un édifice ne sera plus centrale mais, à partir de l’exploration de certains processus, dont ceux des fractals, l’ordinateur a été pensé comme un générateur de formes qui permettait de « renforcer » la créativité. Ce nouveau rôle accordé à l’ordinateur a entrainé dans son sillage une série d’explorations formelles qui ont pris avec sérieux l’idée d’une possible refonte de l’architecture, dont les épisodes de la deconstruction (1988) et du pliage (1993) ont cherché à définir une nouvelle architecture. La question que nous souhaiterions soumettre dans le cadre de ce colloque est que se serait-il passé si la déconstruction n’avait pas eu lieu ?

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Ostwald, Michael J., and Josephine Vaughan. "Differentiating the Whites: Using Fractal Analysis to Investigate the Visual Properties of the Architecture of John Hejduk and Peter Eisenman." Empirical Studies of the Arts 31, no. 1 (2013): 21–43. http://dx.doi.org/10.2190/em.31.1.b.

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Paek, Seunghan. "Fold as a Non-spectacular Event: The Cases of Peter Eisenman′sRebstockpark Master Plan(1990-1991) andThe Aronoff Center for Design and Art(1988-1996)." Journal of Asian Architecture and Building Engineering 17, no. 3 (2018): 385–92. http://dx.doi.org/10.3130/jaabe.17.385.

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Young, James E. "Germany's Holocaust Memorial Problem——and Mine." Public Historian 24, no. 4 (2002): 65–80. http://dx.doi.org/10.1525/tph.2002.24.4.65.

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Once not so long ago Germany had what it called a "Jewish Problem". Then it had a paralyzing Holocaust memorial problem, a double-edged conundrum: How would a nation of former perpetrators mourn its victims? How would a divided nation reunite itself on the bedrock memory of its crimes? In June 1999, after ten years of tortured debate, the German Bundestag voted to build a national "Memorial for the Murdered Jews of Europe" on a prime, five-acre piece of real estate between the Brandenburger Tor and Potsdamer Platz, a stone's throw from Hitler's bunker. In their vote, the Bundestag also accepted the design——an undulating field of pillars——by American architect, Peter Eisenman, which had been recommended by a five-member Findungskommission, for which I served as spokesman. Like many others, I had been quite satisfied with the insolubility of Germany's memorial dilemma. Better a thousand years of Holocaust memorial competitions in Germany than any single "final solution" to Germany's memorial problem. But then I began to suspect that the neverending debate over Holocaust memory in Germany was itself becoming a substitute for taking any kind of action on behalf of such memory. In this report, I tell the story of Germany's national Holocaust memorial and my own role in it, my evolution from a highly skeptical critic on the outside of the process to one of the arbiters on the inside. I find that as the line between my role as critic and arbiter began to collapse, the issues at the heart of Germany's memorial conundrum came into ever sharper, more painful relief.

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Cabas García, Mauricio Ricardo, Álvaro Morales Aragón, and David Caicedo Córdoba. "ACERCA DEL DISEÑO ESPECULATIVO DEL ESPACIO ARQUITECTONICO: EXPERIENCIAS, METAFORAS Y ABSTRACCION." MÓDULO ARQUITECTURA CUC 23 (November 22, 2019): 131–50. http://dx.doi.org/10.17981/mod.arq.cuc.23.1.2019.07.

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Los actos de imaginar, crear y proyectar son conceptos de especulación pura, ya que, al inicio del proceso, arquitectos con conciencia, no saben con certeza lo que se va a lograr, pero con el objetivo siempre de mejorar lo existente. Arquitectos como Peter Eisenmann, Frank Gehry, Mies van der Rohe y Peter Zumthor tienen como meta proponer especulativamente en sus proyectos soluciones formales basados en conceptos abstractos, metafóricos y experienciales.

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Bargdill, Richard W. "Deleuzian Approaches to the Corpse." Janus Head 12, no. 2 (2011): 101–29. http://dx.doi.org/10.5840/jh201112231.

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Whereas memorial culture places the corpse in an aborescent hierarchy of values, Deleuze and Guattari’s rhizome undermines this image of thought. The photography of Andres Serrano and Peter Witkin, and Peter Eisenman’s Holocaust Memorial in Berlin, are rhizomes: they form a productive network of chaotic, subterranean connections and ruptures ‘dismembering’ the corpse’s traditional semiotics.

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Bell, Roger. "Peter Eisenman’s Romeo and Juliet." International Studies in Philosophy 32, no. 2 (2000): 1–14. http://dx.doi.org/10.5840/intstudphil200032210.

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Dafrina, Armelia Dafrina. "Arsitektur Dekonstruksi sebagai Karakteristik Desain pada Bangunan Modern." Jurnal Arsitekno 5, no. 5 (2019): 11. http://dx.doi.org/10.29103/arj.v5i5.1216.

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Abstrak Pengaruh filosofi Arsitektur Dekonstriksi yang diperkenalkan oleh Jacques Derrida serta konstruktivisme yang berkembang di Rusia pada awal abad ke 20 melahirkan dua aliran utama dalam arsitektur dekonstruksi yang dikenal sebagai dekonstruksi derridean dan dekonstruksi non derridean. Segera setelah kemunculannya di dunia Arsitektur, dekonstruksi menjadi aliran baru menggantikan International Style yang sebelummnya mendominasi karakter desain bangunan. Tokoh-tokoh yang terkemuka dibalik kesuksesan Arsitektur Dekonstruksi dengan sebutan the seven architects, Bernard Tschumi, Peter Eisenmen, Frank O Gehry, Rem Koolhaas, Daniel Libeskind, Coop Himmelblau dan Zaha Hadid yang membangun citra baru terhadap arsitektur.

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