The tangs ublelog Coup Copyright © The tages Publishing Group Pry id 1995, Allright esersed. Apc frm any air dealing forthe purposes of private uy, research, Permitted under the Copyight Act, nay be reproduce, photocopying, recording or other, thot the ites selected and current work. 1. Eisenman, Peter, 1982 2. Eaenman Architect. ccntmry- United State, 8, Arcitects- United Stic Edited by Stephen Dobey Printed by Southbank Rook, Fshermens Bend, Aussi Contents Introduction The Eisenman Wave By Sanford Kwinter Selected and Current Works Gridaings 18 Housel 24 House I 30 House Il 3 House IV 38. House VI 4 House X 50 Cannaregio Town Square 54 House El Even Odd 38 Madison Components Pla 52 IBA Social Housing Travelers Financial Center Firehouse for Engine Company’ 283 and Ladder Company 176 Paller/Toms Loft Scalings 84 Romeo and Juliet Castles BE Tokyo Opera House 92 Biocentrum 100 La Villete 104 University Art Museum 108 Progressive Corporation Office Building 112 Wesner Center for the Visual Arts and Fine Arts Library Tracings Camegie Mellon Research Institute Guardiola House Aromof Center for Design and Art Koizumi Sangyo Office Building Siena Bank Master Plan Greater Columbus Convention Genter Banyoles Olympic Hotel Cooper Union Student Housing Groningen MusicVideo Pavilion 178 Nunotani Office Building 186 Atocha 123 Hotel Foldings 192. Rebstockpark Master Plan 198 Aleka Office Building Emory Center for the Ars Max Reinhard Haus Nordliches Derendorf Master Plan Haus Immendorff Firm Profile 230 Biographies 252 Project Credits 230 Associates & Collaborators 238 Chronological List of Buildings & Projects 241 Awards & Exhibitions Bibliography Acknowledgments IndexIntroduction ‘The Eisenman Wave By Sanford Kwinter 16 Ic in difficult to say which is the more impressive career accomplishment: to have generated an endlessly renewed | trail of agitative hypotheses over a 30-year period, or to have eschewed nearly all the comforts of consolidation—and the inevitable complacencies—afforded by conventional repeatable “successes” such as the production of “great buildings or the development of a signature style. In both these respects, Peter Eisenman differs not only from other architects of his own generation (it would, afterall, be Charitable to say that the work of his fellow “New York Five” “architects has now degenerated into nothing better than ‘mannerism), but from nearly all other architects working, today When Eisenman's work began in the early sixties, it was, and remains to this day, a primarily tactical enterprise: its fore from the outset was drafted from that of the enemy— classicism—but was also turned aggressively against it. The Eisenman parti has always been to\deploy mobile entitie} such as historical crcumsdances (holocaust, Hiroshima), situations (death of God, transformations of domesti its mores) and idea-moments (generative grammar, ity and structuralism, conceptualism, anti-humanism) against the thos of established orders and places, reversing the age-old ourgeois victory of values of domain over values of time Fisenman’s task has been to develop a practice that, 0 borrow an expression from Foucault and Nietzsche, would come from cutside—a new type of modernist adversarial practice to be launched from a placeless but volatile Freeppe,” home of disembodied fluxes, raw will to power, and the destabilizing forces of historical change. There is not now, nor has there ever been, a fixable Eisenmanian alternative architecture; tactical space afterall is made up of seek hairs), so that the aseries of seized “occasions” ( momentary triumphs that punctuate its unfolding campaign are never—indeed cannot be—stored. Like the autonomous, fluid nomad civilizations who made legendary assaults on sedentary cultures, Eisenman’s practice is ‘assembled and articulated in movement and in the spirit of movement. Both operate through invasion, disruption, and the release of temporarily trapped forces into free motion and recombination. In the ease of Fisenman, I will argue, these movements and abrasions unfold on three distinet yet interconnected levels: the intellectual-historiea, the discursive-textual, and the materia-formal, Yet despite an amazing and persistent paranoia among colleagues (primarily the dull and unfree), there exists no Eisenmanian fiefdom, no domain oftroduction continues concentrated “political” power, only the continuous Forced convergence of *wild,” impersonal ideforces both drawn from the amorphous outside and directed at the stolid world of quiescent form. The Eisenman-ffect operates like the abrasions of a wave on a beach: the parade of ideas and. intellectual currents that make up our collective postivar history are made to render, through rhythmic, directed encounters, what to a humanistic tradition was once solid— both Architecture and “Man"—a shifting fuid as well. Eisenman has never claimed to be a philosopher. Its true tat he writes with seriousness and discipline, yet his texts, like his architecture, are more than anything else Promiscuous material fields of collision; aggravated surfaces ‘onto which are drawn the rave active forces that give shape to the objects of our world. The concrete way in which ideas are here assembled (it would not be out of line to aseribe to ica barbaric creativity) elicits, to be sure, the work of Rober Smithson and certain of the American minimaliss, though most ofall, Hisenman’s own early drawings and built work, which together are so textual and abstract that across the continuum of his practice it remains hard to say where his architecture takes place, or whether it is even primarily architecture that istaking place. Tchas been easy to fault him for an occasional lack of rigor, yet that does not mean that such claims do not seriously miss the point. For what is important in Eisenman (and in. this era of intellectual poverty and historical aranesia it ‘merits being pointed out again) is that he is the first architect in recent history fully to take up the Futurists" challenge to conceive of all of euleure—plastic as well as historical, intellectual—as a single, continuous and ‘connected field. In the parochial, preEisenmanian architectural world, it could be said that architecture was at best cultivated and intelligent; whereas today, all culture and elaborated intelligence ean—at least potentially — become architecture. The ductile nature of this new ficld— a new type of space entirely, because itis endowed with intellectual, textual and therefore infinitely extendable ddimensions—belongs to one of the greatest cultural developments of our modernity. The origins of this program can be found in Nietzsche's concept of “will to power.” Nietsche was the first to proclaim that form was Dut the concrete appearance (Solvin) of invisible conflicting forces working below and across it. History, in the Nictzschean cosmos, became the history of shaping fores— thats, a fundamentally aesthetic phenomenon, and no Jonger a moral one—and this idea is one whose political implications have sill today only begun to be worked out That what is created and said in a “mental space” might be :aterially continuous with what is given shape in a domain. that is entirely distinct and removed from it in nature and, ‘modality, chat is, in a concrete, physical milieu; and th these two parallel but disparate types of phenomena might not only affect one another but in fact be engendered by the very same genus of forces, remains a radical epistemological claim. For how, to use Foucault's terminology, do discursive objects—diseursive practices— impose their effects upon, indeed form a tissue with, concrete or non-discursive domains? Though the answer to this problem is clearly too complex to develop fully here, it is enough to say that its solution entails a resonant Feature ‘or element through whieh an illetionary property of Ianguage (culture and expressed mental objects) connects 0, and communicates with a performative property within the concrete or built environment. To say something in the world, 3s many postwar language philosophers besides Foucault claimed, is pre-eminently to do something. What this means in a nutshell is that linguistic and intellectual acts exist and operate by dint of their capacity actually to change material conditions: they program, sulTuse, and in each instance, redistribute the physical world. The concept of a continuous and modulated tissue of effects that connects disparate phenomena (such as language, ideas and matter) together in a type of manifold or eonsistency, isa principle achievement, ifnot of postwar ontology, then certainly of postwar aesthetics, Language, in this emerging conjuncture, became for the first time fully and gesturally teetonie in its capacity to provoke and direct the forces of social and material assembly; the worlds of objects, institutions and buildings were incr at least by Foucault, Deleuze and philosophical tradition—as hyper-dense forms of these same, fundamentally programmatic, milieus.Introduction continues In architecture these developments found expression most fully in Fisenman where—just as in the delirious, paranoid, institutional milieus of Foucault—drassing (diagram), text and building actually came to connect with and. interpenetrate one another in a promiscuous and unbroken continuum of determination and resonance. Here, all culture is material culeure, while history, to speak like a biologist, becomes a living “excitable medium” in total intimate contact with all ofits object, shot through with, and correlated by, a propagative system of communicational ‘waves, Every disturbance in the continuum is instanthy ‘converted into movement, registered and transmitted like an irrigating flow throughout the system, Eisenman’s earliest intellectual roots did not, of course, {grow ott of the traditions of continental Enrope, but from those of England and America, and all oo often from the narrow milieus of academic architecture and formalist esthetics. The Eisenman of the sixties was a follower of | Wittkower and Rowe (not Nietzsche and Foucault), and in the seventies, of mainstream strueturalism and Ghomsky's generative grammar. The search for logical or mathematically driven distributional rules appeared to be his primary interest, especially insofar as these embedded structures could be brought to the surface by rigorous ‘operations, and there thetorically hyper-developed at the deliberate expense of a founding “humanist” creator- subject. Bur of far greater importance, I would argue, even ifits expression remained indirect, was Fisenman's career Tong fascination with the work of Giuseppe Terragni. For Terragni's work was not, despite what most historians have argued, a rationalist, neo-Palladian grammar of static structures, but in fact a container of perpetual movement, a veritable standing wave that switched or migrated from state to state not unlike the chemical fluctuations in a Brusselator tank chemical clock This newly identified type of activity defied the calm, Platonic play of expressed orders of which these other systems were built. Indeed, Kisenman’s work has always been a search (inconscious?) to find, or develop, this wave from within the classical machine) One does not need 10 search far to see this forcible—even hubristio—processat work, for in the carly House projects iscrnman hadl already laid down the choreographic lexicon from which his later work would never fully depart, Each of these ten or so projects may be said at the outset to develop, within an essentially boundaryfixed cube. Of course to say that the boundaries are fixed does not mean that they are either continuous or inviolate. They ar, in fact, maniacally artieulated with disruptions and deletions, crazily perforated like the program cards that drive a player piano. What is important of course is that in these experimental structures the “instrument” or resonating body, and the notational system (sheet music or program cards) are entirely coextensive with one another. There is here a very beautiful and almost mystically efficient compression of information. The structure of this type of system resembles the webways of ancestral Aboriginal dreaming tracks or songlines that articulate, like a dynamical map, virtually every physical feature of the Australian continent, No single clan or individual, of course, actually “understands” the language of any but their own, and their immediately adjacent clan's, songlines; yet by means of deeply contours and phrases available to intuition though not—yet—to analysis) a continent of details and trajectories appears to open transparently before one like a hyper-book ever further called into being with each turn of a page. The encounter with the Eisenman House, at least in relation to classically based architectures from which it broke, has the cultural force of this type of anti-promenade, Or, in a word, of the nalkabout. The vertigo that these houses are said to provoke is but a bourgeois symptom of the neurotic preoccupation with maps and the transcendence they are able to induce by dissociating “space” from the object world. Rather, I propose, the houses should be seen asa deliberate ideological break from a static, time-hating space (the economy of the colonial British, or more generically, European, city), and an immersion into the fluid criss-cross of infinitely multiplied trajectorial pulses; system where “location” is established uniquely by “events"—the perpetual “calling out" of designated material features, In the Eisenman House, as in the Australian ‘outback, the “song” and the landscape that is sung, are materially inseparable from one another (itis impossible to say which engenders which), primarily because both are ‘embedded in a similar kind of deep time In the Aboriginal cease, of course, deep time refers to the infinite conjuring, From ban in Caso at raIntroduction continues seithin one another prior to the analytical “wave function collapse” described by the equations of Erwin Schradinger and Louis de Broglie, that splits them definitively apart. De Broglie posited the concept of “matter waves" in 1923, while C.J. Davisson confirmed the hypothesis in two separate experiments in 1925 and 1927, the same years in ‘which Terragni had begun to produce his first significant work." Eisenman always sought to articulate textually the intuited paradox in Terragni's work with the particular language model of analysis that obsessed and inspired the work of most of his generation, but through which it simply could not be expressed.” Yet Eisenman’s dravsings and, works nonetheless always possessed an exces part that moved—silently and even unconsciously beyond the limits of the analytieal paradigm, It is here, in this excessive and unconscious space beyond the reach of reductionist analytics, that one finds the full blooming of the Eisenman cffect and the Eisenman wave. ‘On virtually every level, Bsenman's impact om architectural ccalture has been to render continuous and active what was previously separate and inert, Its always the introduction ‘ofa continuum into a discrete and disjunctive milieu that unleashes the processes of communicative disruption. But here is an anticlasscism of a very specific kind; one that is nowhere more obviously—or furtively—apparent than in Eisenman’s idiosyncratic use of script. In the typographical world, the roman forms—discrete, upright letters that mime the bombastic orders and monumentality of stone—are, in Eisenman's hand at once ridiculed and mobilized by the single, fluid line that rendlers the same letters in a unique, continuous—almost exaggerated—cursive stroke. Here, the ‘cursive form seizes power, visibly forcing the roman form to submit to its rule in a mierodrama that throws all of Eisenman’s plastic and graphic work into newly clear relief For beyond the polysemantism that the linguistic Eisenman, imagined himself to be producing, beyond the polyresonance of multiple geometric orders that the ormalist Eisenman conceived himself to be orchestrating, there lies another, perhaps more salient, Eisenman, though for that all the more hidden, even to himself: the Eisenman, ‘of movement, ofthe cursive form, of the continuous field, and of the propagating wave Like the photon itself, Eisenman has always been a creature of two intimately linked but irreconcilable phases: when he speaks and thinks about what he does he belongs to the classical particle world, but when drawing pen across paper, and moving ideas across the cultural spectrum, he forms a formidable wave. And yet itis perhaps well that this isso; because for the new generations emerging today, systematically removed from the intellectual turbulence out ‘of which both the Modern and the Eisenmanian projects emerged, itis the built objects and the drawn artifacts that will continue to sing, in all their gritty, assiduous and mute refinement, in all their plastic and visual exes, about the new world to which Eisenman's particular brand of Modernist rhetoric itself could never explicitly speak, but to which the multiple risks and forms that mark his 30-year carcer unfailingly give place.House | Design/Completion 1967/2968 “This house symbolizes the mew Eamily structure of professional couple that ‘ust occasionally lve apart because of their separate work schedules ‘The design relates thHouse Il Design/Compieton 1969/1970 2,000 square feet, Wood rame Exterior: painted woos panels Interor: pointes wat Boars ‘The house is situated on the highest point ‘of. 100acre site with panoramic views on thee sides which extend for 20 miles. “The design simulates the presence of trees and hedges, which are non-existent on the Darren hilltop, through a sequence of ‘columns and walls. These arhitectaral ‘elements frame and focus the view and ‘ensure a transition from extroverted ‘summer activities to the introverted security ofthe winter fireplace. Su a AL 4 ie raat me a -HouseHouse IV bHouse VI Design/Compet providing an abstract ba the photography of sil Inddoing so, the house a become part ofa series o portraits”rm Ld (| weaCannaregio Town Square Design 1978 Munlopal Goverment of Veni “This projets derived from an architecture that invents its ow site and program. Rather than reproducing an existing Venice, itconstructs another, fttious Venice: The grid of Le Corbusier's Venice Hospital is continued asa structure over the site, This grid marks a series of voids which act as metaphors ‘displacement from his p centered instrument of measure Architecture becomes the measure of itself “The objects inthis landscape are variations cof House Ila, shown at different scales, Tike small objects too amall to provide shelter, but raises the question of whether ieiaa house or a model of a house, The rmiddle object contains the smaller object inside it, while the Farge object is twice the size of the middle object.House El Even Odd House El Even Odal begins with an ed axonometsc object a ts initial nition of reality Two axonomettic transformations then take place allowing itto appear simulaneovsly as three Cae ager caleeeaae projection, and a plan. The object is then turned upside-down and placed below ground, so thatthe clement that seems to bea plan is actually a roof, A smaller clabaped volume which fte within the texto of the larger one is suspended in space, allowing two possible read A third and smaller volume, concentric to the firs, sggests the same two readings. The three nesting els together ash which {isthe actual siz, and which is the model of the actual size?Madison Components Plant This industrial building was designed t house a turbo-charger and diesel engine components manufacturing proces The focus ofthe design was to create a well ordered and smoothly functionin which ensured worker safety and Sale prostict The manufacturing plant was designed as asinglestory rectangular building with ‘dramatic, angled skylight raneing is length. In the masterplan, the existing plant and new sdsinktraion center are Jurrounded by the industtal pace to allow manufacturing activites to be viewed. inl varctcs of it machinery without glare off the } easIBA Social Housing ‘grmbotien,E Bie7 bee FEEL F r r 5 F ATravelers Financial Center Design/Comletion 2983/2986 Fair Oaks Deveiopmant/Sehottensten Properties 000 sauare The design for this Wstory office building on Long Island consists of eight floors of office space, with retail facilities om the ground floor anda lower level containing A private dining area and building go ‘The building demonsirates a plas form and surface not ordinarily associated with curtinsall office buildings. This "glass box” is effectively broken into several different readings by a nuniber of shifts inthe plane and elevations. The two Seometres of the site are encaprulated in the small-scale interplay ofthe wal surface and grid in the ceilings. Moor and walls ofthe main lobby level.Firehouse for Engine Company 233 and Ladder Company 176 Design/Completion 1963/2085 Brook, New York ‘tee frame Glaneo and non glazed block end aluminum panels The building's design responds to its turban site, where an clevated ral line ‘marks a shift ingrid patterns, by incorporating these two grid within the structure. This two-story firehouse contains firefighting equipment, battalion chiefs offices, company offices, and sleeping accommodation. ‘The structural roof beam members ofthe superimposed grid contain red laser lights that symbolically illuminate the structure tight. In addition, a beacon of red light shines out when the fire engines are onal.varaFuller/Toms Loft Design/Compietion 1984/1987 Neve York, New York Emily Fula and Newby Toms 4,800 square feet Wood for, wallboard walls anc ceing, Stang wood door “The ideas for this project are wot {ire to explore the question of sale; second, to explore the question af an internal insertion, ‘The sit for this proec satin Lower Manta. The pate semen 2 ‘ectaogutrparlclepped witha proportion o€40 100 Th short ste ccaBrontny. a dngonal in ihe rhogonal save ri of New York ‘he idea inst foreign body ino the exiting context in sucha wy produce fvrietingrasonship Temes a and new The nvrertion of the wo geometries prodocesacondivon Invwhich neler geometry i dominant therety dla and dosing ‘ventional dees for orientaSelected and Current WorksTokyo Opera House the Emperor's realm in KyotoBiocentrum Design 1987 Frankton an Main, Germany '360,000 square feet ‘This expansion of existing biotechnology research laboratories and support spaces ‘was approached by considering the Foundations of biology as an analogy for development of the scheme, DNA fused ‘asa model ofa logical sequence with nite possiblites for expansion, change, and flexbiiy. Within this model, the design of the laboratory incorporated ‘certain ey technical design goals providing a safe environment which protects the researchers and other building occupants from the various hhuzards encountered: heating, vendiating and airconditioning design which reduces the hazards of crosecontamination of experiments, and the spread of odors, toxie materials and other foreign agentseaten ©___- PEE TinkLa Villette Design 1986 Pare de Le Viete, Paris, France Estobleserent Puble Pare de la Viet 4,300 square fost Parc de la Villette i a study of time—past, present, and future—and a questioning of representation in architecture. Itreplaces the actual conditions of me, place, and scale with analogies of these conditions While the site exists inthe present, ite also made to contain allusions to the present the past and the future Analogies are made between the coniitions that existed a te stein 1887, ‘when an abatoir occupied the site: in 848, when the site was covered by the «ivy walls and at the present, the time of Bernard Tichumi’s La Villete projec. ‘The resultant ambiguous nature of time and place suggests an architecture that floes not exist only inthe present, but reverberates, suggesting an everinereasing sctof references,University Art Museum Design 1986, Long Beseh, Caltoria University of Catto, Lane Besch 157,500 square foot he master plan andl museum design is © reult ofa history given to the projec, compiled from a series of significant dates the settlement of California in 1840: the creation ofthe campus in 1949; and the rediscovery ofthe museum in 2049, ‘The building consists of four major Ceshibition spaces: an andiorietal installation gallery a black-box theater/ auditorium, a cafe. a conference space, A library, administrative offices and storage areas, and a series of exterior terraced Sculpture courtyards The arboretum will contain a 2acre artificial pond, botanical gardens, terraces, and seating areas, An Cleyated walkway provides link beween the northern and southern portions ofthe srhoretsm,Progressive Corporation Office Bullding Design 1986 Clveiane, Obio Progressive Corporation “The ste was developed from the superposition of aspects of the geographical history ofthe state of Ohio land the city of Cleveland: the 18th century boundary ofthe Connectiont Western Reserve; the 1903 Daniel Burnham plan; and the Greenville Trace—surveys of the State carried out simultaneously from the north and south. These elements were altered in size and superposed om 01 another. ll ofthe conditions, etitious and real, artificial and natural, exist simultaneously in ths reinvented site. ‘The buildings sit on the site like huge chisels, breaking the pieces open to reveal ‘the many faceted layers of their history.Wexner Center for the Visual Arts and Fine Arts Lib Design/Compietion 1983/1989 Columbus, Oni The Ohi State Unversity, State of Oto £140,000 square feet. Instead of selecting any of the obvious boiling sites on the camps, a ste was created by locating the Center between, several proposed sites and existing buildings. This can be described asa now building, an archaeological earthwork whose essential elements are scaffolding find landscaping. The scaffolding consists of wo imersecting three dimensional gridded Corridors which link existing buildings with the new galleries and arts Facilites. One part of eafolding i aligned with the Columbus street grid, the other ith the ‘campus grid, so the project both physically and symbolically aks the campas with the fry beyond. The Center acts ata symbel of aras process and idea,| |Selected and Current WorksCamegie Melion Research Institute Design 2988 Ptsburgh Pennsyvenia Carnegie Mallon University 185,000 square fet ‘Eivenman Architects was selected 0 develop a master plan for the Pitsburgh ‘Technology Genter and design a new facility forthe Carnegie Mellon Research, Institue. The design had wo address the “knowledge revolution," and represent Plasburgh’sreitaliztion as the fist pont industrial cy. ‘The fundamental stracure for thi developments the “Boolean cube,” a _Kcometric model for computer processing ach building is mace up of pairs of ‘eubes, Each pair contains solid cubes and two frame cubes corresponding to office and laboratory mostales. Each palr ‘an be seen as containing the inverse of the other as solid and voi.Aronoff Center for Design and Art Design/Completion 1988/present Cincinnati, Ohio University of Cincinnati 273,000 square feet Design disciplines must assume a more important role in our media-dominated age of information than ever before. The Aronoff Center for Design and Artis programmed to be a model for this kind of leadership, For this project, we had to reconceptualize what a building has to be in order to house such inventive, contemporary activity. The vocabulary of the building derives from the curves of the land forms and the chevron forms of the existing building; the dynamic relationship between these t¥o forms organizes the space between them. We worked with the sindents, faculty, administrators, and friends of the College so that the building was an evolutionary process of work which everyone can say “was created by us,” Presentation model, aerial view Site plan 3-4 Concept diagrams, curved line 400-level Noor plan 600-evel floor plan ° D Ddefini 11 il pet TNL mtKoizumi Sangyo Office Buil Design/Completion 1988/1990 Tokyo, Japan Koizumi Sangyo Corporation 43,000 square feet In the West, the concept of place (topos) has always been pre-eminent. Less important, but latent or repressed in this topos, has been the concept of atgpia, or no place. Tokyo can be seen as embodying a concept of atopia lying with topos. This project proposes that this “lying within” can be scen as another order, another potential structure. These ideas have always been a part of Japanese thought: the Japanese word ma stands for the notion of “the space between,” and ku for “no place.” In this project, the idea was not to build the place, but to build a place between. The project deals with the idea of imprint—the former presence of place—and trace—the absence of place— as the major components of any space. View from the east Ground level plan Showroom. ground level plan View of exhibition gallery from the north-east ‘View of showroom from the west ‘| b o dDHT aeLeGreater Columbus Convention Center Design/Compieton 1980/1909 vention Centar Authorty The design for the Greater Colusntus ‘Convention Center i simukancously suggestive of the ralyards that once ‘occupied the site, nearby highway ribbons, and overlays of delicate ber optic cables that represent the information age. It reflects High Streets traditionally narrow ‘truetures with articulated ac have been extruded away from The design also solves one of the most persistent problems in convention center Aesign— diagrammatic elarty. Differences Jn forms clearly distinguish the various exhibition spaces and parts ofthe concourse. The strengths ofthe scheme are accomplished without reying on ‘ansatisying quotations from Columbus's past o images opically found in “generic Convention halls.Banyoles Olympic Hotel Design 1989) Banyeles, Spain CConsorei Pe Deservolupament de Ia Vis Olimpica 182,000 square foot 1m our project fora hotel a the site of the 1992 Olympic rowing events in Banyoles, the building is no longer a primary form—a single metaphysical enclosure. Instead, there are exponential torsion And phase shife whieh euaracterize the Tine. This produces a building of richness and complexity, while atthe same time preserving the simple autonomy and replication of bedroom unis Kis also a ‘bullding which alo part landscape. Equally the “interior” space ofthe Duilding is no longer merely the static lobby-corridor-raom stacking ofthe traditional hotel, Instead, there i sliding Ad «sipping found in the possibilisy of the form of the line which creates another ‘condition of interior exterior space.Cooper Union Student Housing Design 1969 The Cooper Union ‘This project breaks down waditionsl aspects of clasical monumentalty and teplacesthein witha freer richer more playful massing which has no defined frame, no single axis, and no conformity sie aN oa or Sore ts a. ‘The Cooper Union isthe home” for sudents and the portal through which ‘hey venture into the hfe of the city. Thus, ‘ur project addresex both symbolic and functional aspects. Te begins with private tunis fortwo people, then facilities for four to six people, and then loftstyie duplex living areas for 16 co 32 students The organization provides for both community and privacy, fesiility and order, breaking down the scale ofa large building into recognizable human unitsView from the southavest Site plan Axonometric, view from the south-east South elevation North elevation Plan section through upper level InteriorNunotani Office Building Design/Completion 1990/1992 “oly, Japan 40,000 square fet “The land mass of Japan is constant subjected o earthquake activity, and the ‘Nunotani building isseen asa metaphoric record ofthese continuous waves of movement. Simultancous to this analogy, the project representsan attempt 10 rethink the symbolism of the vertical office Duilding, frst by producing building that isnot metaphorically skeletal or striated. ‘but rather made up ofa shell of vertically compressed and vansated plates: and second, by producing an image somewhere between an erect and 2 “limp” condition ‘The building consists of studio and office spaces, a multimedia presentation oom, Hbary, cafeteria, CAD workrooms and traditional Japanese resting roomsAtocha 123 Hotel Design 1990 Mage, Spain Sociedad Boga de fos Pnaros de ol Paulor ‘This 920m, fourstar hotel was designed for the corner of Mtocha and Alumeds streets in downtown Madrid With depts and heights established by zoning ‘equirements, a series of diagrams was developed ta derive the building form. Fast, bars were laid out parallel to Atocha, with 1 depth of one room, a height of eo and a half floors, and separated by the width of a corridor. Second, bars of the same depth, height, and separation were ‘manipulations produced a building form that responds tb the richness of is urbanSelected and Current WorksRebstockpark Master Plan Design 1990 Frankfurt, Germany Advanta Management, AG/Dieter Bock 5,000,000 square feet The Rebstockpark Master Plan reassesses the idea of a static urbanism; the temporal dimension of the present becomes an important aspect of the past and the future. This reading might reveal other conditions which may have always been immanent in the urban fabric. Framed by a segment of the Mercator grid, the Rebstockpark Master Plan floats within a rectilinear container to obscure the residual position it occupies along Frankfurt's third green belt. By compressing the large grid segment onto the site perimeter and similarly compressing the small-scale grid onto the close site, contingent readings emerge as the two site figures fold and unfold, each relative to its expanded position. Site plan Concept diagram, Concept diagram, Concept diagram, Concept diagram, Concept diagram, Concept diagram, superposition of net transformation of net folde typological fabric building typology folded ypology D o 2 D DAlteka Office Building Design 1901 A paradigmatic city of accumulation, juxtapanition, and compression, Tokyo is an index of contingent, tentative relations and neve, complex urban realities. Our project suggests another relationship to the city. Canight between the traditional city fabric ae, the ste Suggests building defined by fluctuation, were the object takes place ina Thus, the building spatial mold, but tion that implies a ‘continual variation ofthe matter and a perpetual development of the form, The typological el fees its folds rom their subordination to the finite hod emerging from the context fold and unfoldEmory Center for the Arts Design 1991 Atlanta, Georgia Emory University 160,000 square feet The Center for the Arts at Emory University accommodates four major performance spaces (a 1,100-seat music hall, and a recital hall, studio theater, and cinema each seating 200), and is designed to be a national and international center for scholarship and performance in the fields of theater, music, and film. The four performance halls are linked by an expansive, multi-level lobby traversing the length of the building and functioning as a link between the campus boundary and a new open-air amphitheater. ‘Academic spaces are located to the east of the lobby over the parking garage, and rehearsal and support space is provided adjacent to the performance halls. L Presentation model, view from the Site plan Concept dia 945 level ¥7 level plan 964 level plan B Dd ° a A 6 6Max Reinhardt Haus Design 1992 ‘Advanta Management, AG/Dieter Bock “The dominant character ofthe Max Reinhardt Haus is both symbolic and reereational. Named forthe famous German theatrical entrepreneur, it ‘occupies the ste of his former “chauspethews, Ie symbolism is intencled to bbe forward rather than backward looking, ‘combining the best of what i German With a symbolic vison ofthe furue, Ite prograin is representative of Reinhardk's ‘energy and vision: a present-day media center Almost by definition, fhe uilding Inss to assim a “prismatic” eharacter, that is tosay, it nceds to fold into itself—but also open itself ut to—an infinite, always fragmentary, and constantly changing array of metopolitan references and Telatiouships. ce & >fait A U4 U1) LET. IT PieNordliches Derendorf Master Plan \YHaus Immendorff This project fora cafe, private club, studio and office space for a painter is located on Dusseldorf waterfront. The building's twisting form derives from an analysis of Hinear Interactions, Solitons undergo constant change and generate singular aqueous forms that alternately dissipate and regenerate as they move through the fet. Haus Immendorf is composed of inner and outer volumes whose oblique sutfaces intersect each other as they twist vertically, forming a vorexclike cone rising to the top ofthe building. The exterior olume ia stepped glass “skin” of bands of lis windows alternating with louvers setback at various widtbs from the glass The inner volume is solid wall with zed cus, to be used as paint surface“ 18 Study model Section BB - Section AA se Study model Study model, view from the west Zz Study model, view of the gallery wall 20Biographies Peter Eisenman, Fats Peter Fisenman isan architect and educator. In 1980, afer many Jets ob tthine: writing, nnd pendecing respected thecmctial ‘work, he established his profesional practice to focus exclusively ‘on building. He has designed a wide range of protorypical projects including largescale housing and urban design projects, innovative facilities for educational institutions anda series ‘of inventive private houses Among his built projects, the Wexner Center forthe Visual Ars land Fine Arts Library tthe Ohio Seate University in Columbus, ‘completed in 1989, met with international acclaim, and received ‘21903 National Honor Award from the American Institute of Architects. His project for social housing at Checkpoint Charlie atthe Berlin Wall eas honored by the West German Government, boeing featured on a postage stamp commemorating the 730th anniversary ofthe City of Berlin. He has built se office buildings in Tokvo: the Nunotani Corporation building, and the Koizumi Sangyo Corporation headquarters building, which received a 1991 National Honor Award from the American Institute of Architects, In March 1993, opening ceremonies were held for the Greater Columbus Consention Center in Ohio, znd contraction had begun on the Aronoff Center for Design and Art atthe University ‘of Cincinnati, At present Peter Eisenman i working on the Center forthe Arte at Emory University in Atlanta, Georgi the master plan for Rebstockpark in Frankfurt, Germany the high-ise Max Reinhardt Hats in Berlin; and an artist's cafestio in Dusseldoct. In 1985, Peter Fisenman received a Stone Lion (Fits Prize) for his, Romco and Juliet Cases project at the Third International Architectural Biennale in Venice. He was one of two architects to represent the United States atthe Fifth International Exhibition of Architecture of the Venice Biennale in 1991, and his projects are exhibited at museums and galleries round dhe world. Eisenman isthe founder and former director ofthe Institute for Architecture and Urban Studies, an International think-ank for architectural eriticism, He has received numerous avards, including a Guggenheim Fellowship, te Brunner Award of the American Academy of Arts and Lewes, and a grant from the National Endowment for the art His academic involvement has included teaching at Cambridge University, Princeton University, Yale University and the Ohio State University From 1982 to 1985 he was the Arthur Rotch Profesor of Architecture at Harvard University and in Fall 1998 hhe was the Eliot Noyes Visiting Design Critic at Harvard. Currently hae isthe first Irwin S. Chanin Distinguished Profesor of Architecture atthe Cooper Union in New York City. Peter Eisenman i the author of several hooks, inching House (Rizzoli), Fin d'Ou T Hous (The Architectaral Association), Moving Ares, Eres and Otter Eros (The Architectural Association), Hose of Cards (Oxford University Press) and The Wess Centr forthe Vieual Ans (Rize). In addition, be was the editor of Oppestions journal and Opposition: Books, and he has published numerous essays and artiles on his Architectural theories in international magazines and journals Peter Eisenman received a Bachelor of Architecture degree from Cornell University, a Master of Architecture degree from Columbia University, MA and PhD degrees from the University ‘of Cambridge, and an honorary Doctor of Fine rts degree from the Universit of Illinois, Chicago. George Kewin, ais George Kewin has recendy led project teams for numerous. international projects and competitions in Germany. including the Rebstockpark Master Plan, s five million square foot housing land commercial evelopment in Frankfurt, Germany, which was the winning entry in an international competition in 1990. He was the Associate Principal-n-Charge for Eisenman Architects! entries in the Bahnhofsbereich Friedrichstrase competition in Berlin, and the Nordliches Derendorf competition for a largescale urban dlevelopmentin Dusceldorf. In adalition, he was the Associate Principabin-Charge for the Nunotani Office Building in Tokyo and the fourstar Atocha 123 Hotel in Madrid, He i currently ‘icecting completion of comprehensive design and legal guidelines for the Rebstockpark Master Plan, and oversecing ‘design development for a skestory cafe-bar and artist’ studio Space on the Dusseldorf Harbor in Germany Before joining Eisenman Architects in 1984, he was associated with Richard Meier and Partners, where he was project architect for the Des Moines Art Center Museum; and with the fem of Esward I, Barnes, where he was the project designer forthe IBM Gallery of Artand Science and Equitable Tower it Manhattan George Kewin received his Master of Architecture degree from Harvard University, and his BA from the University of California at Berkeley. He has taught atthe Graciate School of Architecture tthe Ohio State University and served asa visiting cite at ‘various other schools. Richard N, Rosson, 14 Richard Rosson is curently directing work on the Emory University Arte Center in Atlanta, Georgia, a$36 million, 125,000 square foot nstractional and performance faci for the Department of Theater and Film Studies and the Department ‘of Music. In addition, he i coordinating the work of Eisenman Architect’ afice on the Aronoff Center for Design and Att at the Universiy of Cincinaat as the project enters the construction administration phase He was Project Manager for the fastrack design and construction ‘of the $65 million, 380,000 square foot Convention Center in Columbus, Ohio, completed in March 1995, and also for a master plan ofthe Pitsbungh Technology Center, a 500,000 square foot Taboratory and office park on the Monongahela River for Carnegie Mellon University. He also oversaw the desiga of nwo buildings atthe Genter Since joining Eisenman Architects in 1985, he has been involved in various aspects of many project, including the design and construction of 350,000 equare foot headquarters ofice building in Washington, DC and the renovation of the Harvard Clu New York Giy Formerly with Gresham Smith and Parmers in Nashville, Richard Rowson served as Project Architect for hospitals and office buildings in dhe southeastern United States and in Saudi Arabia,