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Peter Eisenman. “El proyecto que hace que las cosas aparezcan.”Ponencia del Curso de Arquitectura y Teoría. Primer Semestre 2014Arq. Gonzalo BustilloFARQ- UdelaR.
Enric Miralles
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Tesis de doctorado de Peter Eisenman, Bases formales de la Arquitectura ModernaEISENMAN, Peter, The Formal Basis of Modern Architecture, publicado originalmente como tesis doctoral por el Trinity College de la Universidad de Cambridge en Agosto de 1963 y posteriormente reeditada en Lars MüllerPublishers, Baden, 2006.http://axonometrica.wordpress.com/2013/02/25/the-formal-basis-of-modern-architecture-2/
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Extractos de Tesis de doctorado de Peter Eisenman, Bases formales de la Arquitectura ModernaEISENMAN, Peter, The Formal Basis of Modern Architecture, publicado originalmente como tesis doctoral por el Trinity College de la Universidad de Cambridge en Agosto de 1963 y posteriormente reeditada en Lars MüllerPublishers, Baden, 2006.http://axonometrica.wordpress.com/2013/02/25/the-formal-basis-of-modern-architecture-2/
“En realidad esta tesis puede ser pensada como una investigación y una interpretación de las bases conceptuales de la obra de Le Corbusier ‘Cuatro Composiciones’ ilustrada en su “Oeuvre Complete.[5] (…) Implícitos en los diagramas de Le Corbusier están el vocabulario, la gramática y la sintaxis de un lenguaje formal; la intención aquí es hacer este lenguaje explícito.”
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La gramática transformacional. Noam Chomsky Aspects of the Theory of Syntax 1965
“Una gramática generativa, en el sentido en que Noam Chomsky utiliza el término, es un sistema de reglas formalizado con precisión matemática que, sin necesidad de información ajena al sistema, genera las oraciones gramaticales de la lengua que describe o caracteriza y asigna a cada oración una descripción estructural o análisis gramatical. ”
INFLUENCIA DE LA GRAMÁTICA DE NOAM CHOMSKY
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http://arquiscopio.com/archivo/2012/07/11/casa-del-fascio/
Giuseppe Terragni, Casa Del Fascio 1932-36 Giuseppe Terragni, Casa Del Fascio 1932-36
http://arquiscopio.com/archivo/2012/07/11/casa-del-fascio/
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http://arquiscopio.com/archivo/2012/07/11/casa-del-fascio/
Giuseppe Terragni, Casa Del Fascio 1932-36
MASA, VOLUMEN, SUPERFICE, MOVIMIENTO
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http://architettura.it/books/2005/200503001/ EL PROYECTO COMO PROCESO TRANSFORMACIONALPeter Eisenman "Giuseppe Terragni: transformaciones, decomposiciones, críticas”, 2005
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http://www.katarxis3.com/Alexander_Eisenman_Debate.htm
Ch. Alexander the first Ph.D. in Architecture ever awarded at Harvard University
Tesis de doctorado de Peter Eisenman, Bases formales de la Arquitectura ModernaEISENMAN, como respuesta a la tesis de Christofer Alexander.
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Christopher Alexander y los “orígenes funcionales de la forma”Harvard University Press, Cambridge, Massachusetts 1964
“The ultimate object of design is form. (…) The following argument is based on the assumption that physical clarity cannot be achieved in a form until there is first some programmatic clarity in the designer's mind and actions ; and that for this to be possible, in turn , the designer must first trace his design problem to its earliest functional origins and be able to find some sort of pattern in them.” p.15
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“In a problem of design we (…) We want to put the context and the form into effortless contact or frictionless coexistence.”p.19
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“Cuando el hombre comenzó a estudiar al hombre en el siglo XIX, (…) comenzó a perder su posición en el centro. La representación del hecho de que el hombre no estaba más en el centro del mundo, no era más su arbitro, y no controlaba sus artefactos, se reflejó en el cambio de una estructura tipo centro-vertebrado en una centro- como-vacío.”Contrasting Concepts of Harmony in Architecture: The 1982 Debate Between Christopher Alexander and Peter Eisenman 1982http://www.katarxis3.com/Alexander_Eisenman_Debate.htm
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Gordon Matta-Clark, Splitting (1974) http://www.criticismism.com/2011/03/
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Sol LeWitt3 x 3 x 3, 1965Painted wood, 14-1⁄2 x 14-1⁄2 x 14-1⁄2 inchesSigned and dated underneath: 'Sol LeWitt 1965‘http://www.starr-art.com/exhibits/eva-hesse_sol-lewitt/
INFLUENCIA DEL ARTE CONCEPTUAL: SOLOMON LE WITT
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Sol LeWittSerial Project A 1967 White stove enamel on aluminium49 x 145 x 145 cm http://www.saatchigallery.com/aipe/sol_lewitt.htm
Serial Project, I (ABCD)Date:1966
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“Peter, if you don’t build no one will take your ideas seriously. You have to build because ideas that are not built are simply ideas that are not built. (…) Tafuri said: history will not be interested in your work if you haven’t built anything.”http://www.architectural-review.com/comment-and-opinion/interview-peter-eisenman/8646893.article
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H11967 -1968
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Rudolf Wittkower. “Fundamentos de la arquitectura en la edad del humanismo” 1949
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Rudolf Wittkower. “Fundamentos de la arquitectura en la edad del humanismo” 1949
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A B C B A
Rudolf Wittkower. “Fundamentos de la arquitectura en la edad del humanismo” 1949(N.A.) Nomenclatura agregada
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“Las Matemáticas de la vivienda ideal. “Colin Rowe. 1949
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2 2 21 1
“Las Matemáticas de la vivienda ideal. “Colin Rowe, 1949.
B B BA A
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Giuliani Frigerio, Giusepe Terragni
“The futility of objects. Decomoposition and processe of Difference”1984
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A B
“The futility of objects. Decomoposition and processe of Difference”1984
Giuliani Frigerio, Giusepe Terragni
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A A A A AB B B
“The futility of objects. Decomoposition and processe of Difference”1984
Giuliani Frigerio, Giusepe Terragni
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“The futility of objects. Decomoposition and processe of Difference”1984
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A AB B
P. Eisenman “The futility of Objects. Decomposition and Process of Difference, 1984. Análisis Palacio “Foscarini”
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House I 1967, 1968
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“If you say A/B A/B, that is an alternation of wholes outside of the classical canon, which tries to take A and B and bring them into symmetry -- as in B/A/B/A/B. In other words, there are three B's with one in the center, and two A's as minor chords. When you have A/B/A/B/ you have alternating pairs with no center, closure or hierarchy. A/B/A/B/A is complete. A/B/A/B is not. ”
Contrasting Concepts of Harmony in Architecture:The 1982 Debate BetweenChristopher Alexander and Peter Eisenmanhttp://www.katarxis3.com/Alexander_Eisenman_Debate.htm
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H21970
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16 pilares 4 planos paralelos 3 volúmenes
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http://www.nitrosaggio.net/iQuaderni/DIDATTICA/Supporti/Eisenman-Saggio/Index.htm
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http://www.nitrosaggio.net/iQuaderni/DIDATTICA/Supporti/Eisenman-Saggio/Index.htm
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“escribir un pilar” en tanto “significante flotante”. La ausencia de relación univoca entre significante y significado, en tanto enfrentamiento de la metafísica de la arquitectura.
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H3VerfremdungseffektBrechtGodard1971
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http://www.nitrosaggio.net/iQuaderni/DIDATTICA/Supporti/Eisenman-Saggio/Index.htm
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H41972-75
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volumen
plano
línea
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http://www.nitrosaggio.net/iQuaderni/DIDATTICA/Supporti/Eisenman-Saggio/Index.htm
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H61975
http://www.nitrosaggio.net/iQuaderni/DIDATTICA/Supporti/Eisenman-Saggio/Index.htm
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http://www.redbubble.com/people/helenb/works/661739-house-vi-interior
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H10House X.El ingreso de PE al psicoanálisis 1975
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House X. 1975
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http://www.nitrosaggio.net/iQuaderni/DIDATTICA/Supporti/Eisenman-Saggio/Index.htm
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House 11 a:“The void mets the solid” 1978
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House 11 a:“The void mets the solid” 1978
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ARCHITECT'S STATEMENTPeter Eisenman, 1978 “This house is a folded membrane; the EL approximates the unbroken and continuous surface of the Klein bottle, while at the same time suggesting an architectonic condition of inside and outside.The initial deforming agents are a series of three-dimensional EL molds. These are the specific, thickened deformation of the topological sheets which are conceived of as impacting the initial surfaces from the opposite quadrants, imprinting and distorting the topological sheet.”http://www.lnkall.com/projects/house11A.html
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Peter Eisenman. House El Even Odd
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“Las primeras casas eran icónicas dado que comenzaban desde cubos, por lo tanto, había un valor original en las formas puras, y las casas eran derivaciones de este valor original. Cuando empecé a interesarme en la deconstrucción, me di cuenta que el valor del origen en estas casas era problemático. Porque surgían de un conjunto de valores a priori. Es entonces cuando comencé a trabajar en la ruptura del origen como un valor necesario en la arquitectura. Esto comenzó con un movimiento del cubo a la retícula.” “Una conversación con Peter Eisenman” El Croquis Nº 83
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“Excavación Artificial”Peter Eisenman. Cannaregio, Venecia, 1978
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Peter Eisenman. Cannaregio, Venecia, 1978
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Fuente Gráfica: http://www.meipi.org/mediterranean.meipi.php?open_entry=556
Peter Eisenman. Cannaregio, Venecia, 1978
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Fuente Gráfica: http://www.meipi.org/mediterranean.meipi.php?open_entry=556
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Fuente gráfica: http://www.meipi.org/mediterranean.meipi.php?open_entry=556
Peter Eisenman. Cannaregio, Venecia, 1978
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http://www.meipi.org/mediterranean.meipi.php?open_entry=556
Peter Eisenman. Cannaregio, Venecia, 1978
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Fuente Gráfica: http://www.meipi.org/mediterranean.meipi.php?open_entry=556
Peter Eisenman. Cannaregio, Venecia, 1978
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Peter Eisenman. Cannaregio, Venecia, 1978
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Superior Izq. Peter Eisenman. Cannaregio, Venecia, 1978
Derecha House 11 a . 1978
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Park de la Villette Bernard Tschumi, 1982http://www.tschumi.com/projects
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Park de la Villette Bernard Tschumi, 1982http://www.tschumi.com/projects
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Park de la Villette Bernard Tschumi, 1982http://www.tschumi.com/projects/3/
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Peter Eisenman, Casa Guardiola, Cadiz, España 1988
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Peter Eisenman, Casa Guardiola, Cadiz, España 1988
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OMA, Rem Koolhaas. CCTV China. 2002
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OMA, Rem Koolhaas. CCTV China. 2002
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P. Eisenman. Casa Guardiola, Spagna 1988
P. Eisenman House 11 a: “The void mets the solid” 1978
Rem Koolhaas. CCTV China. 2002
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Peter Eisenman, Wexner Center for the Arts, The Ohio State University. 1983- 1984 LA SUPERPOSCIÓN DE RETICULAS Y LA EXCAVACIÓN HISTORICA
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Peter Eisenman, Wexner Center for the Arts, The Ohio State University. 1983- 1984
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Peter Eisenman, Wexner Center for the Arts, The Ohio State University. 1983- 1984
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Peter Eisenman, Wexner Center for the Arts, The Ohio State University. 1983- 1984
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Peter Eisenman, Wexner Center for the Arts, The Ohio State University. 1983- 1984
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Cuartel en demolición, 1959http://archinect.com/features/article/49090085/still-ugly-after-all-these-years-a-close-reading-of-peter-eisenman-s-wexner-center
Peter Eisenman, Wexner Center for the Arts, The Ohio State University. 1983- 1984
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Peter Eisenman, Wexner Center for the Arts, The Ohio State University. 1983- 1984
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Peter Eisenman, Wexner Center for the Arts, The Ohio State University. 1983- 1984
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Peter Eisenman, Wexner Center for the Arts, The Ohio State University. 1983- 1984 LA SUPERPOSCIÓN DE RETICULAS
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Peter Eisenman, Wexner Center for the Arts, The Ohio State University. 1983- 1984
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Centro Aronoff. Facultad de Diseño, Arquitectura, Arte y Planeamiento. Universidad de Cincinnati. EE.UU. 1988 1996
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Centro Aronoff. Facultad de Diseño, Arquitectura, Arte y Planeamiento. Universidad de Cincinnati. EE.UU. 1988 1996
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Centro Aronoff. Facultad de Diseño, Arquitectura, Arte y Planeamiento. Universidad de Cincinnati. EE.UU. 1988 1996
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Centro de Artes Escénicas Universidad de Emory, 1991 -1993Diagramas de exterioridad: Armónicos Fundamentales.
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Max Reinhardt House- P. Eisenman 1992Cinta de Moebius
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Max Reinhardt House- P. Eisenman 1992
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Max Reinhardt House- P. Eisenman 1992Cinta de Moebius
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Max Reinhardt House- P. Eisenman 1992
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Peter Eisenman | Biblioteca de L'HUEI | Ginebra; Suiza | 1997Diagrama de exterioridad: Mapas de actividad sináptica.
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Peter Eisenman | Biblioteca de L'HUEI | Ginebra; Suiza | 1997
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Peter Eisenman. Iglesia del año 2000, Roma Italia 1996. Arbitrariedad: configuraciones del cristal liquido
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Peter Eisenman. Iglesia del año 2000, Roma Italia 1996. Arbitrariedad: configuraciones del cristal liquido
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Peter Eisenman. Iglesia del año 2000, Roma Italia 1996
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Peter Eisenman Museo Judío. San Francisco 1997
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Monumento en memoria de los judíos asesinados en Europa. 1998 – 2005. Berlín Alemania
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Monumento en memoria de los judíos asesinados en Europa. 1998 – 2005. Berlín Alemania
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Monumento en memoria de los judíos asesinados en Europa. 1998 – 2005. Berlín, Alemania
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Monumento en memoria de los judíos asesinados en Europa. 1998 – 2005. Berlín Alemania
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Monumento en memoria de los judíos asesinados en Europa. 1998 – 2005. Berlín Alemaniahttp://1.bp.blogspot.com/-rSkhsW9eMVs/ULV_8qUIxZI/AAAAAAAAB7o/NnvPVg0ODYk/s1600/peter+eisenman_jewish+memorial+plan.jpg
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Peter Eisenman, Ciudad de la Cultura de Galicia, 1999- presenteSantiago de Compostela, España
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“La vieira es muy común en los mares que bañan Galicia. En la Edad Media, la ruta jacobea no terminaba en Santiago de Compostela sino que se prolongaba hastaMuxía y Finisterre. Allí, los peregrinos cogían una venera que llevaban de vuelta cosida en sus esclavinas como prueba de su peregrinación.”
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Peter Eisenman y otros. Proyecto para Zona 0 World Trade Center, Nueva York 2002
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Peter Eisenman. Boceto para Proyecto para Zona 0 World Trade Center, Nueva York 2002
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Bibliografía complementaria: “Una conversación con Peter Eisenman” El Croquis Nº 83https://docs.google.com/file/d/0B7mgXcwfK2tDckxPTW9KVnJoSms/edit?pli=1
Bibliografía Básica: Rafael Moneo, “Inquietud teórica y estrategia proyectual. Peter Eisenman” ACTAR, Barcelona 2004.
Describa y analice la importancia asignada por Peter Eisenman a la idea de “proceso” en la generación del proyecto arquitectónico. Ejemplifique y compare dicho concepto considerando casos de la etapa “Houses” y proyectos posteriores.