Peter Eisenman is an American architect known for deconstructivist designs. This document provides biographical details and discusses two of Eisenman's works - House VI from 1972-1975 and the Wexner Center for the Arts from 1989. House VI was conceptualized through a process of manipulating a grid, resulting in unconventional spaces. The Wexner Center design was also based on manipulating grids to link past and present through unconventional means, seen in its curved facade, reconstructed armoury fragments, and use of dark glass.
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OUTLINE
Intro
Biography
Pioneers of Modern architecture
Philosophy
Style
Features
Traditionalism to Modernism
Characteristic features
Furniture
Works
Chicago school
Barcelona pavilion
S.r crown hall
Less is more
OUTLINE
Intro
Biography
Pioneers of Modern architecture
Philosophy
Style
Features
Traditionalism to Modernism
Characteristic features
Furniture
Works
Chicago school
Barcelona pavilion
S.r crown hall
An architectural style that emerged around early 1960s and was against the architectural styles advocated by Le Corbusier and Ludwig vies Van der Rohe.
introduction about louis kahn, his biography, projects of louis kahn, incomplete projects, description of awards, history of louis kahn, quotes of louis kahn, the yelle art gallery, kimbek art museum, fisher house, IIM ahmedabad, the national parlament.
Louis i kahn
Born February 20, 1901 on Saaremmaa Island in Kuressaare.
Kahn's Jewish parents immigrated to the United States in 1906.
His given name at birth was Itze-Leib Schmuilowsky but was changed upon arrival in the US.
Kahn's architecture is notable for its simple, platonic forms and compositions.
Through the use of brick and poured-in place concrete masonry, he developed a contemporary and monumental architecture that maintained a sympathy for the site.
While rooted in the International Style, Kahn's architecture was an amalgam of his Beaux Arts education and a personal aesthetic impulse to develop his own architectural forms.
Kahn received the AIA Gold Medal in 1971 and the RIBA Gold Medal in 1972.
Louis Kahn is considered one of the foremost architects of the late twentieth century.
On March 17, 1974, he died of a heart attack in a men's restroom in Pennsylvania Station in New York City.
Education/ Occupation
He attended the University of Pennsylvania and received his Bachelors degree in architecture at the age of 24.
After college, he worked as a senior draftsman in the office of Philadelphia City Architect John Molitor.
To find his inspiration, he traveled through Europe visiting castles and medieval strongholds in 1928, only 4 years after graduating.
He finally started his own firm in 1935.
While he still designed and worked as a design critic on the side, Louis became a professor of architecture at Yale school of Architecture.
Personal designs
Kahn created many unique an intricate buildings, but among his most memorable were…
* The Yale University Art gallery: 1951.
* The Jonas Salk institute for Biological Studies: 1965
* The Margaret Esherick house: 1961
* The National Assembly building: 1962
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
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Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
Honest Reviews of Tim Han LMA Course Program.pptxtimhan337
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Acetabularia Information For Class 9 .docxvaibhavrinwa19
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A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
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2. INTRODUCTION
• Born August 11, 1932 (age
85) Newark, New Jersey, U.S.
• Nationality American
• Occupation Architect
• Buildings House VI
Memorial to the
Murdered Jews of Europe
City of Culture of Galicia
Peter Eisenman (born 1932) is an American architect. Considered one of the New York Five,
Eisenman is known for his writing and speaking about architecture as well as his designs,
which have been called high modernist or deconstructive.
3. EARLY LIFE
• Peter Eisenman was born to Jewish parents[3] on
August 11, 1932, in Newark, New Jersey.
• As a child, he attended Columbia High School
located in Maplewood, New Jersey.
• He transferred in to the architecture school as an
undergraduate at Cornell University and gave up
his position on the swimming team in order to
commit full-time to his studies.
• He 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.
4. CAREER
• He 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 1969.
• Eisenman received a number of grants from the
Graham Foundation for work done in this period.
• These architects' work at the time was often
considered a reworking of the ideas of Le Corbusier.
Subsequently, the five architects each developed
unique styles and ideologies, with Eisenman
becoming more affiliated with Deconstructivism.
5. PHILOSOPHY
• HE REJECTED THE FUNCTIONAL CONCEPT OF
MODERNISM BY DESIGNING STAIRWAYS THAT LED
NOWHERE OR COLUMNS THAT DID NOT FUNCTION
AS SUPPORT
• HIS WORKS WERE CHARACTERIZED BY
DISCONCERTING FORMS, ANGLES AND MATERIALS
• ACCORDING TO EISENMAN, WHEN YOU CAN SENSE
THE INCOMPLETENESS OF A FINISHED STRUCTURE, IT IS
A PARADOXICAL EXPERIENCE. IF THE PARTS THAT MAKE
UP A WHOLE ARE IN CONFLICT, THE SENSATION OF THE
INCOMPLETE CONTESTS THE FACT THAT THE
STRUCTURE IS, IN FACT, A FINISHED AND FULLY
ENCLOSED SPACE
6. STYLE
• EISENMAN HAS ALWAYS SOUGHT SOMEWHAT
OBSCURE PARALLELS BETWEEN HIS
ARCHITECTURAL WORKS AND PHILOSOPHICAL
OR LITERARY THEORY.
• His earlier houses were “generated” from a
transformation of forms related to te tenuous
relationship of launguage to an underlying
structure.
• Eisenman's latter works show a sympathy
with the ideas of deconstructionism.
• His tries to do is to “unlink” the function that
architecture may represent from the
apperance - form - of that same architectural
object.
7. CONEPT
- Artifical excavation
- tracing
- layering
- deformation
TECHNIQUES
- shear
- interference
- intersection
- distortion
- scaling
DIAGRAMMATIC IMAGE
- add to superposition
- Deform coposition
METHODS
- Historical reading of the site:
Superposition
-Deformation strategy:
Diagrammatic image
-Elaboration: Design
DISCONSTRUCTIONSIUM
- Characterized by ideas of
fragmentation.
- Characterized by a
stimulating unpredictability
and a controlled chaos.
8. QUOTES
• “THE ARCHITECTURE WE REMEMBER IS THAT WHICH NEVER
CONSOLES OR COMFORTS US “.
• “IN ANYRCHITECTURE THERE IS AN EQUITY BETWEEN THE
PRAGMATIC FUNCTION AND THE SYMBOLIC FUNCTION”.
9. WORKS
• House VI(Frank residence), Cornwall, Connecticut.Design: 1972.
• Wexner Centre for the Arts, Ohio State University,Ohio, 1989
• Nunotani Building, Edogawa Tokyo Japan, 1991
• Greater Columbus Convention Centre, Ohio,1993
• Aronoff Centre for Design and Art, University for Cincinnati, Cincinnati, Ohio,
1996
• City of Culture of Galcia, Santiago de Compostela, Galcia, Spain, 1999
• Memorial to the Murdered Jews of Europe, Berlin, 2005
• University of Phoenix Stadium, Glendale , Arizona, 2006
11. INTRODUCTION
• Located in cornawall,Connecticut.
• Eisenman created a form from the
intersection of four planes , subsequently
manipulating the structures again and
again, until coherent spaces began to
emerge.
• The envelope and structure of the building
are just a manifestation od the changed
elements of the original four slab, with
some limited madification.
• The purely conceptual design meant that
the architecture is strictly plastic, bearing no
relationship to construction techniques or
purely ornamental form.
13. • In the earlier stage of his career he
designed a series of houses, named as
house I to house X. His House II, VI and
X are most famous projects of his initial
ones.
• • Eisenman, one of the New York Five,
designed the house for Mr. and Mrs.
Richard Frank between 1972-1975 who
found great admiration for the
architect’s work despite previously
being known as a “paper architect” and
theorist.
• • By giving Eisenman a chance to put his
theories to practice, one of the most
famous, and difficult, houses emerged
in the United States.
14. • Situated on a flat site in Cornwall, House VI stands its own ground as a
sculpture in its surroundings.
• • The design emerged from a conceptual process that began with a grid.
Eisenman manipulated the grid in a way so that the house was divided into
four sections and when completed the building itself could be a “record of the
design process.”
• • Therefore structural elements, were revealed so that the construction
process was evident, but not always understood.
• • Thus, the house became a study between the actual structure and
architectural theory. The house was effeciently constructed using a simple
post and beam system.
• • However some columns or beams play no structural role and are
incorporated to enhance the conceptual design. For example one column in
the kitchen hovers over the kitchen table, not even touching the ground! In
other spaces, beams meet but do not intersect, creating a cluster of supports.
19. • The structure was incorporated into
Eisenman’s grid to convey the module that
created the interior spaces with a series of
planes that slipped through each other.
• • Purposely ignoring the idea of form
following function, Eisenman created
spaces that were quirky and well-lit, but
rather unconventional to live with.
• • He made it difficult for the users so that
they would have to grow accustom to the
architecture and constantly be aware of it.
For instance, in the bedroom there is a
glass slot in the center of the wall
continuing through the floor that divides
the room in half, forcing there to be
separate beds on either side of the room.
20. • Another curious aspect is an upside
down staircase, the element which
portrays the axis of the house and is
painted red to draw attention.
• • There are also many other difficult
aspects that disrupt conventional
living, such as the column hanging
over the dinner table that separates
diners and the single bathroom that is
only accessible through a bedroom.
• • Eisenman was able to constantly
remind the users of the architecture
around them and how it affects their
lives.
21. • He succeeded in building a
structure that functioned both
as a house and a work of art,
but changing the priority of
both so that function followed
the art.
• • He built a home where man
was forced to live in a work of
art, a sculpture, and according
to the clients who enjoyed
inhabiting Eisenman’s artwork
and poetry, the house was very
successful.
23. INTRODUCTION
• The firm of Peter Eisenman and Richard Trott won the design competition for
Wexner Center of Arts.
• • Eisenman wowed the Jury with his bold ideas for the art center, which were
aimed at linking the past to the present (“Timeless Earth 1), through the use
of unconventional means.
• • The end result became both Peter Eisenman’s first large public commission
and one of the first large scale constructions of Deconstructivist Architecture.
• • The building is tucked in between the Mershon Auditorium and Weigel Hall
both of which are home to programs that were to be consolidated into the
Wexner Center.
24. Design process
• The literal use of the rotated grid is
used by Eisenman as an extensive
method of giving the architecture
its own voice.
• • The identification of the dialectic
grids stems from conditions that
exist at the boundary of the site,
Eisenman then grafts one grid on
top of the other and seeks
potential connections or ‘event
sites’ at the urban, local, and
interior scales.
25. • Scalar operations are performed as a
means of mediating the scale of the
urban grid towards a pedestrian or
human scale, lastly, the results of these
operations serves as a map that is used
to locate program, pathways, structure,
interior forms, excavations, and views
along the newly afforded possibilities of
‘event sites’ in both the horizontal and
vertical planes.
• • The results of these operations are
visible in almost every aspect of the
construction, from the module in the
curtainwall, the tiling of the pavers,
planters and trees on site.
26. • To add to the depth of possibilities afforded by this
excavation of the immediate condition of the grid
Eisenman grafts figured scaffolding onto the site and
integrates this figure into the primary circuit or
pathway of the building.
• • The scaffolding is scaled to represent the module
of the grid that is interpretable at a human scale.
• • The scaffold is reduced to its raw type, to the
essential condition that signifies the essence of its
existence that being an impermanent accessory to
architecture that allows its construction, but does
not necessarily shelter.
• • This architecture of non-shelter is aligned directly
adjacent to an interior pathway within the building
that does enclose and protect.
27. • Eisenman coupled his grid abstractions with
a series of figures that would play a key role
in his aim of linking the past with the
present.
• • The most prominent of these figures exists
as a reconstruction of a part of the armoury
that occupied the site from 1898 until it was
terminally damaged by fire on May 17th
1958.
• • The figure of the armoury Eisenman has
presented along the south pedestrian access
(the most visually accessible elevation of the
building) has been reduced to a series of
fragments of armoury-like forms that
indicate the ‘essence’ of the armoury
without reproducing any of the original
intricate detail.
28.
29. • Within the armoury forms the negative space
carved out of the solid brick masses that
make up these figures is cast with a dark
tinted curtain wall, within which is an
aluminum mullion pattern evocative of the
use of grid.
• • The contrast created by the anodized
aluminum of the mullions intensifies the
impenetrable depth of the glass.
• • The lack of historical fidelity in the
reconstruction of the armoury, the
fragmentation of the form, and the insertion
of dark glass into the voids left between
these fragments seems to speak of the
disjointed manner in which we reflect the
past, and in turn, it serves to remind us of a
past we have lost and can never return to.