THE WORKS OF

PETER EISENMAN
Study on an Architect and his work

Sharvari Wani
Sir J J College Of Architecture
Peter Eisenman
◦ Born in New Jersey, USA on August 11,
1932
◦ An internationally recognized architect,
educator and an author
◦ B Arch degree from Cornell University
◦ M Arch degree from Columbia University
◦ M.A. and Ph.D. degrees from
the University of Cambridge
◦ His professional work is often referred
to as deconstructive
◦ Currently teaches at the Yale School of
Architecture
◦ Founder of Institute for Architecture and
Urban Studies in 1967
◦ Served as its Executive Director until
1981
◦ Practices in his own firm “EISENMAN
ARCHITECTS”
BOOKS WRITTEN BY PETER EISENMAN
◦ Most Popular Books
➢The Formal Basis of Modern
Architecture
➢Lateness
➢Deconstruction II
(Architectural Design Profile)
➢Ten Canonical Buildings: 1950-
2000
➢Peter Eisenman: Diagram
Diaries (Universe Architecture
Series)
Ideologies
◦ In an interview with Louisiana channel, Peter Eisenman explores the
larger idea and feeling of being lost in space and time
◦ A concept that he describes as a “field of otherness”
◦ He believes that when someone becomes very lost in any form of art
so that their full concentration and focus is on that thing, that time
they travel to a completely different world
◦ The other world refers to the field of otherness
◦ He believes that art is very powerful and it has the power to make
someone lost in space and time
◦ He also believes in the concept of deconstructivism
Different Works

City of Culture of Galicia, Spain House VI, USA

Different Works

Greater Columbus Aronoff Center for Design and Art,

Convention Ohio, USA
Center, USA
Different Works

Memorial to the Murdered Wexner Center for the

Jews of Europe, Germany Arts, Ohio, USA
Wexner Centre Of Arts : The museum
that theory built
Wexner Center of arts
◦ Location – Ohio State University Columbus,
Ohio
◦ Area - 11.980m2
◦ Three floors
◦ The Wexner Center opened in November
1989, putting its name in honor of Leslie
Wexner, major donor to the Center.
◦ Commissioned by Ohio State University
◦ First major public building to be designed
by Eisenman who was previously famous
as a teacher and author
◦ Built for exploration and exhibition of
contemporary art
◦ It is a lab and public gallery, but not an art
museum, as it does not collect art.
However, when the Center was
constructed, it replaced the University
Gallery of Fine Arts, and so possessed
Gallery's permanent collection of roughly
3,000 art works.
◦ It is made available to University students
and scholars for study, and is open to the
public.
◦ The design includes a large, white metal grid
meant to suggest scaffolding. Exposed and
partially unenclosed, it is meant to look
deliberately incomplete, so as to tune in with the
architect's deconstructive tastes
◦ They give the building every bit of the collage-like
feeling reflected in Eisenman's trademark
drawings
◦ The result was a building of sometimes
questionable functionality, but amazing
architectural design
◦ Also prominent on the
museum are a set of red brick
turrets that dramatically clash
with the hyper-modern
aesthetic of the scaffolding
showing juxtaposition in the
design
◦ The center's brick turrets
make reference to the
medieval-like armory building
that occupied the site until the
1958
◦ An illusions is shown that the medieval-style
armory was bulldozed to make room for the
museum, which shows the architect’s
deconstructive side
◦ In reference to architecture it shows that the
fragmented elements of history are split and
carved apart in a way that renounces the
importance of evolution rather than honoring
it
◦ In 1985 the design of Peter Eisenman
received the “Progressive Architecture”
award.
Structure and materials
◦ The exterior includes a large white
metal grid that suggests some kind
of armor, which gives the building a
sense of incompleteness
◦ The steel structure was covered with
a skin of red masonry evoking the old
building
◦ At the front and at the entrance,
Eisenman rebuilt a tower of an old
arsenal, then cut it and give an image
of disorganization
• Using figures juxtaposed, grids, and
fragmented forms, the Wexner Center
N
replaces its function as art house to
become a work of art in itself,
challenging our perceptions and
thoughts.
• The project consisted of two phases

1. Reconstruction of Armory that

burned in 1948 on the same site

2. Construction of the four main

galleries of the center, administrative
offices and support areas, cinema
room, Library of Fine Arts and
Graphic Arts and conversion of the
15th and 17th avenues in pedestrian
plaza.
 Ground floor Plan

N
 Second Floor Plan

N
 Third Floor Plan

N
 Elevations &
Sections N

N
Front Elevation
 N
Model

Plan
Feedback from people
◦ It was with tremendous anticipation that this building, the first major public work of
Eisenman’s career, opened in 1989
◦ For some, it was a sign for validation of deconstructivism and theory, while its problems
provided uncertainty for others who saw theory and practice as complimentary but ultimately
divergent pursuits. Which means that theory and practical compliments each other but some
theoretical things are not practically possible
◦ To the surprise of many, Eisenman won the competition (to get the commissioned work)
despite his relative inexperience with large-scale buildings, though his selection resulted in
no less publicity for the museum
◦ His widely respected name alone was enough for the museum’s opening as to attract audience
Memorial to the Murdered Jews of Europe
 Memorial to the Murdered Jews of Europe
◦ Location - Berlin
◦ Built in 2005
◦ The Memorial to the Murdered
Jews of Europe also known as
the Holocaust Memorial , is a
memorial in Berlin to
the Jewish victims of the
Holocaust
◦ Designed by architect Peter
Eisenman and engineered
by Buro Happold
◦ The original plan was to
place nearly 4,000 slabs,
but the government
passed a new law
mandating memorials to
be wheelchair accessible
and so recalculation was
done
◦ After the recalculation, the
number of slabs that could
legally fit into the
designated areas was 2,711
◦ It consists of a 19,000 m^2 site
covered with 2,711 concrete slabs
of different heights arranged in a
grid pattern on a sloping field
◦ They are identical in their
horizontal dimensions (depicting
coffins), differing vertically i.e. The
slabs are 2.38 m long, 0.95 m wide
and vary in height from 0.2 to 4.7 m
◦ They are organized in rows, 54 of
them going north-south, and 87
heading east–west at right angles
but set slightly askew
◦ The memorial is on a slight slope and its wave-like form is different wherever you stand. The
uneven concrete floor gives many visitor a moment of giddiness or even uncertainty.
◦ This makes it appear as if we are Diving into a sea of concrete blocks
◦ The height of the slabs gradually increases and some of them aren’t completely straight
◦ The memorial provokes anxiety and unsettling feeling, sometimes it also feels like concrete
slab will fall on you
◦ This is what Eisenman believed in, the “ field of otherness” which many people experience
when they look at these structures
◦ But this is experienced as one goes deep into the memorial, on the edges tourists sit
and chat on bench-high stelae, children climb, all enjoy wide-open and thrillingly
grand perspectives on the surroundings, and the installation becomes a modern yet
pleasantly welcoming park.
A place of information
◦ An attached underground "Place of
Information" holds the names of
approximately 3 million Jewish Holocaust
victims, obtained from the Israeli
museum Yad Vashem
◦ It was also designed by Eisenman.
◦ In a space covering 800 m^2 one can find
information on the victims and the
locations.
◦ Themed rooms such as the Room of
Dimensions, the Room of Families, the
Room of Names and the Room of Sites
deal with the fates of individuals, with
photographs, diaries and farewell letters
 N

Plan

Model Section of
underground
Feedback from people
◦ In one of his interviews Eisenman stated that he had a conversation with one of the
family member of holocaust’s victims and she gave him inspiration of “getting lost”
◦ Many relatives of holocaust’s victims like to come here and remember their loved
ones
◦ Though some think that there’s nothing about the concrete slabs that signifies
“memorial”
◦ Some also think that It would have been fitting for 3 million names to be engraved on
the slabs rather than making an underground basement for it
Self Review
◦ Peter Eisenman was a very controversial architect
◦ He believed in the modern approach rather than traditional methods
◦ His focus was on "liberating" architectural form, from an academic and theoretical
standpoint but it resulted in structures that were both badly built and hostile to users
◦ One of his controversial theory is, ‘art should be challenged by its environment
rather than displayed neutrally’ which as per my understanding means that as time
changes, we must also change our ideas and evolve with time
◦ Which is what he did, though many people criticized him and he faced many failures
still he did not loose hope and did not give up.
Sources
◦ https://www.archdaily.com/557986/ad-classics-wexner-center-for-the-arts-peter-eisenman
◦ https://eisenmanarchitects.com/Wexner-Center-for-the-Visual-Arts-and-Fine-Arts-
Library-1989
◦ https://www.re-thinkingthefuture.com/top-architects/a278-15-works-of-peter-
eisenman-every-architect-should-visit/
◦ INTERVIEW LINK
➢Louisiana channel interview - https://www.youtube.com/watch?v=Uggl6a1FLng
➢PLANE-SITE interview - https://www.youtube.com/watch?v=ZNgv2hD4FWI
◦ https://pare.osu.edu/sites/default/files/arts_district_master_plan_executive_summary.pdf
 Questions
1. What does the white metal grid in the Wexner center of Arts represent?
a. Window
b. Entrance
c. Grid
d. Scaffolding

2. What are the number of slabs in the Memorial of Murdered Jews of Europe?
a. 4000
b. 2000
c. 4711
d. 2711
3. The turrets in the Wexner Center of Arts is made up of which material?

a. Metal

b. Wood

c. Brick

4. What is the material used in white grid in the Wexner center of arts?
a. Wood
b. Metal

5. Peter Eisenman is not a ________________?

a. Author

b. Engineer

c. Architect

d. Lecturer
6. The slabs in the Memorial of Murdered Jews of Europe are built of which material?

a. Concrete
b. Steel
c. Wood
d. Iron
7. Which principle of design can be seen in Wexner center of Arts?
a. Symmetry
b. Asymmetry
c. Juxtaposition
d. Emphasis

8. The Memorial of Murdered Jews of Europe is also known as?

a. Holosphere memorial
b. Holocaust memorial
c. Holoscope memorial
d. Holograph memorial
9.Which style does Peter Eisenman follow?
a. Deconstructivism
b. Post-modernism
c. Modernism
d. Phenomenology

10. What is the name of the underground museum in the Memorial of Murdered Jews of
Europe?

a. Place of memory
b. Place of names
c. Place of information
d. Place of data
Answers
1. (d)
2. (d)
3. (a)
4. (b)
5. (b)
6. (a)
7. (c)
8. (b)
9. (a)
10. (c)