the work of peter eiseman and theory of his initial thoughts on house he built and buildings like wexener art museum...

1. JAGANNATH UNIVERSITY
SUBMITTED BY:
KANDARPI SARKAR
NIKITA THAKUR
KUNAL SINGH
NEETIKA AGARWAL
SUBMITTED TO:
AR. ABHISHEK SHRIVASTAVA
Faculty of architecture
Presentation on deconstructive
architecture…….

2. PETER EISEMAN

3. EARLY LIFE
 Peter Eisenman (born August 11, 1932) is an
American architect. Eisenman's professional work is
often referred to as formalist, deconstructive, late
avant-garde, late or high modernist, etc. A certain
fragmenting of forms visible in some of Eisenman's
projects has been identified as characteristic of an
eclectic group of architects that were (self-)labeled
as deconstructivists, and who were featured in an
exhibition by the same name at the Museum of
Modern Art. The heading also refers to the storied
relationship and collaborations between Peter
Eisenman and post-structuralist thinker Jacques
Derrida.

4. EDUCATION
Eisenman was born in Newark. As a child he attended Columbia
High School located in Maplewood, New Jersey. He discovered
architecture as an undergraduate at Cornell University and gave up
his position on the swimming team in order to immerse himself in
the architecture program there. Eisenman received a Bachelor of
Architecture Degree from Cornell, a Master of Architecture Degree
from Columbia University's Graduate School of
Architecture, Planning and Preservation, and M.A. and Ph.D.
degrees from the University of Cambridge. He received an honorary
degree from Syracuse University School of Architecture in 2007.

5. PRACTICE
 Eisenman first rose to prominence as a member of the New York
Five (also known as the Whites, as opposed to the Grays of Yale: Robert
A.M. Stern, Charles Moore, etc.), five architects (Eisenman, Charles
Gwathmey, John Hejduk, Richard Meier, and Michael Graves) some of
whose work was presented at a CASE Studies conference in 1967.
 n 1980 Eisenman established a professional practice in New York City.
He embarked on a number of major projects, characterized by
disconcerting forms, angles, and materials, including the Wexner Center
for the Arts (1983–89) at the Ohio State University in Columbus, the
Greater Columbus (Ohio) Convention Center (1993), and the Aronoff
Center for Design and Art (1996) at the University of Cincinnati (Ohio).

6. BUILDINGS AND WORKS
FALK HOUSE ,HARDWICK ,VEDMONT, 1969
House VI (Frank
residence), Cornwall, Connecticut, Design: 1972.
Wexner Center for the Arts, Ohio State
University, Columbus, Ohio. 1989
UNIVERSITY ARTS MUSEUM.

7. FALK HOUSE
Peter Eisenman. Conceptual sketch, Falk House (House II), Hardwick, Vermont.
1969-1970. Black ink on off-white paper, 21.5 x 28 cm. Peter Eisenman fonds.

8. Building views
The house is situated on the highest
point of 100 acres site with
panoramic views on the three side
which extended through 2o miles.
The design simulates the presence of
tree and hedges
Which are non existing on the barren
hilltop , through
A sequence of columns and
And wall

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10. Floor plans
One of the most interesting aspects of House II is the initial reading of a whole
formal system that is deformed by the relationship between an internal generic
system and externally imposed formal vector. This deformation, which responds
to the relationship between general and specific form, defines one of the most
important parts of the house: the entrance device. From the definition of the
entrance device, all the formal solutions for each space of House II can be
inferred.

11. elevations
sections

12. CONCEPTUAL
MODELS

13. HOUSE VI
 House VI, or the Frank
Residence, is a significant building
designed by Peter
Eisenman, completed in 1975
 At the time of construction, the
architect was known almost
exclusively as a theorist and "paper
architect," promulgating a
highly formalist approach
toarchitecture he calls
"postfunctionalism." Rather than form
following function or an aesthetic
design, the design emerged from a
conceptual process, and remains
pinned to that conceptual framework..

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15. Building views

16. Floor plans
The building is meant to be a "record of design process," where the structure
that results is the methodical manipulation of a grid. To start, Eisenman created
a form from the intersection of four planes, subsequently manipulating the
structures again and again, until coherent spaces began to emerge.

17. elevations
sections

18. INTERIOR VIEWS

19. INSTEAD OF SELECTING OF ANY
OBVIOUS SITE ON CAMPUS
A SITE WAS CREATED BY LOCATING THE
CENTER BETWEEN SEVERAL
PROPOSED
SITE AND EXIXTING BUILDINGS.
THIS CAN BE DESCRIBED AS
A NON BUILDING, A ARCHAEOLOGICAL
EARTHWORK
WHOSE ESSENTIAL ELEMENTS ARE
SCAFFOLDING AND LANDSCAPING.
Wexner Center for the Arts

20.  THE SCAFFOLDING CONSIST OF TWO
INTERSECTING THREE DIMENSIONAL
GRIDED CORRIDOR WHICH LINK EXISTING
BUILDING WITH THE NEW GALLERIES AND
ART FACILITIES.
 ONE PART OF SCAFFOLDING IS ALIGNED
WITH COLOUMN GRID AND THE OTHER
WITH THE CAMPUS GRID
CONCEPTUAL
SKETCHES.

21. Floor plans

22. elevations

23. sections
VIEW FROM THE SCAFFOLDING
CORRIDOR

24. SECTION THROUGH LOBBY
, VIEW FROM EAST

25. Dame Zaha Mohammad Hadid

26. EARLY LIFE
Zaha Hadid was born on 31 October 1950 in
Baghdad, Iraq.
She grew up in one of Baghdad's first Bauhaus-inspired
buildings during an era in which "modernism connoted
glamor and progressive thinking" in the Middle East.
She received a degree in mathematics from the American
University of Beirut before moving to study at the
Architectural Association School of Architecture in London
where she met Rem Koolhaas, Elia Zenghelis, and Bernard
Tschumi.

27.  She worked for her former professors, Koolhaas and
Zenghelis, at the Office for Metropolitan Architecture, in
Rotterdam, the Netherlands; she became a partner in
1977.
Through her association with Koolhaas, she met Peter
Rice, the engineer who gave her support and
encouragement early on at a time when her work seemed
difficult.
In 1980, she established her own London-based practice.
During the 1980s, she also taught at the Architectural
Association.

28. Zaha Hadid is an Iraqi-British architect.
She received the Pritzker Architecture Prize in 2004—the
first woman to do so—and the Stirling Prize in 2010 and
2011.
Her buildings are distinctively futuristic.
Characterized by the "powerful, curving forms of her
elongated structures"with "multiple perspective points and
fragmented geometry to evoke the chaos of modern life"

29.  In 2004, Hadid became the first female and first Muslim recipient of the
Pritzker Architecture Prize, architecture's equivalent of the Nobel Prize.
 She is a member of the editorial board of the Encyclopædia Britannica.
 In 2006, she was honoured with a retrospective spanning her entire work
at the Guggenheim Museum in New York; that year she also received an
Honorary Degree from the American University of Beirut.
 Her architectural design firm, Zaha Hadid Architects, employs more than
350 people, and is headquartered in a Victorian former school building in
Clerkenwell, London.
 In 2008, she ranked 69th on the Forbes list of "The World's 100 Most
Powerful Women".

30. BMW CENTRAL BUILDING….
BMW Central Building

31.  The BMW Central Building Located in Leipzig, Germany was the
winning design submitted for competition by Pritzker Prize winning
architect, Zaha Hadid.
 The central building is the nerve center for BMW's new $1.55 billion
complex built to manufacture the BMW 3 Series Vehicle.
 From a pool of 25 international architects the BMW jury chose the
very innovative design of Zaha Hadid as the final piece of the BMW
plant in Leipzig, Germany.
 With no real precedent for her design, Zaha Hadid's Central Building
can only be related to the revolutionary and monumental industrial
designs of the past.

32.  Serving 5,500 employees, the building functions as the most
important piece of the factory, connecting the three production sheds.
 Each day, 650 BMW 3 Series sedans pass through the Central
Building on an elevated conveyor as they move from one of the three
production sheds to the next.
 Dim blue LED lights highlight the vehicles after each stage, as they
exit one of the sheds.
 These conveyors not only take the vehicles from one production
shed to another, but do so directly through all of the functional
spaces of the Central Building. The offices, meeting rooms, and
public relations facilities are all built around these elevated
conveyors, creating an interesting relationship between the
employees, the cars, and the public.

33.  Not only is the Central Building an office building and public relations
center for the factory, it is also a very important piece of the
production process at the factory. All of the load-bearing
walls, floors, and office levels are made of cast-in-place
concrete, while the roof structure is composed of structural steel
beams and space frame construction. The facade is clad in simple
materials of like corrugated metal, channel glass, and glass curtain
walls .
 The buildings has received numerous architectural awards, including
a 2006 RIBA European Award, and was placed on the shortlist for
the Stirling Prize.

34. Diagrammatic Plan Of BMW Central
Building Productions Sheds

35. MAXXI Rome
Location Roma, Lazio, Italy

36. The project was first announced in 1998 and took over 10 years
to complete
the design of Zaha Hadid was the winner of an
international design competition
The building is a composition of bending oblong tubes,
overlapping, intersecting and piling over each other, resembling
a piece of massive transport infrastructure.
The MAXXI consists of two museums: "MAXXI art" and "MAXXI
architecture".
In addition to the two museums, the MAXXI also features an
auditorium, a library and media library specialized in art and
architecture, a bookshop, a cafeteria, a bar/restaurant, galleries
for temporary exhibition, performances, educational activities.
The large public square designed in front of the museum is
planned to host art works and live events.

37. The MAXXI – National Museum of the 21st Century
Arts is a museum dedicated to contemporary
creativity, located in the Flaminio neighbourhood
of Rome, Italy.
 managed by a foundation created by the Italian Ministry
of Cultural Heritage and Activities.
was designed as a multidisciplinary space and
committed to experimentation and innovation in the arts
and architecture.
 The way the building extends into disappearing
brushstrokes leaves us curious as to where the building
ends and begins, another way in which Hadid is
controlling and manipulating our understanding of
space.

40. The architecture of Eisenman had many different
angles and difficulties when analyzing it and trying
to describe it in general terms.
Conclusion
“forms are no longer a ‘means toward an
end,’ but an end in themselves”

41. THANK YOU