Archinect image gallery.
Image 2 of 17 from gallery of Eisenman's Evolution: Architecture, Syntax, and New Subjectivity. Photograph by an-onymous.com
#PrettyPicMonday: The Aronoff Center (Donny Zellefrow)
Image 16 of 39 from gallery of Interview with Peter Eisenman: "I Am Not Convinced That I Have a Style". The City of Culture in Santiago de Compostela, Spain. Image Courtesy of Eisenman Architects
atlas | davide tommaso ferrando
Image 8 of 12 from gallery of AD Classics: Wexner Center for the Arts / Peter Eisenman. Photograph by Brad Feinknopf
The City of Culture is a new cultural center for the Province of Galicia in northwestern Spain. Its design evolves from the superposition of three sets of in...
RNDRD | A partial index of published architectural rendering
An excerpt from the 1977 book "200 Years of American Architectural Drawing," by Deborah Nevins.
Ver video http://www.youtube.com/watch?v=JAH97LcQ2Cs La idea de este video nace de un trabajo práctico sobre modelado y herramientas C.A.D. del curso de doctorado: Representación gráfica asistida por ordenador (2004-2005). Profesores: Manuel J. Luque, Maria Isabel Ruiz, Joan Font. Universidad Politécnica de Cataluña. E.T.S.A.B. Depto. de Expresión Gráfica Arquitectónica I. Su concepción tiene relación con el proceso de diseño volumétrico del Anteproyecto de la Casa Guardiola (Cadiz, 1988) del arquitecto Peter Eisenman. Se trata de mostrar el proceso morfológico a partir de una interpretación propia (autor del video), basada en los esquemas planimétricos planteados por P. Eisenman. La secuencia del proceso, puede tener concordancia con un diagrama secuencial que P. Eisenman dibujó acerca del proyecto. Sin embargo el orden cronólogico esta en concordancia con la evolución de las formas cúbicas (en "L") y el desarrollo progresivo de las diferentes partes del volumen.
Image 11 of 17 from gallery of Eisenman's Evolution: Architecture, Syntax, and New Subjectivity. Photograph by an-onymous.com
Completed in 2011 in Santiago de Compostela, Spain. Images by Duccio Malagamba . The City of Culture is a new cultural center for the Province of Galicia in northwestern Spain. Its design evolves from the superposition of three...
The question was posed: whose values are the most important; client, user or architect? Sometimes the values and desires of the client conflict with that of the user, designer, community, and government. What compromises are made when such a situation arises, in essence, whose values are more important; who wins? Certainly, the goal of architecture should be to please the client and create a space that is successful for the user. For most, this can be accomplished whilst still incorporating the aesthetic, environmental, tectonic, and general principles and values of the architect. In a situation where the values and desires of the various parties that come together to create architecture conflict, the dominant values emerge in the architecture. The question is then whose opinion is more important in architecture? The client, providing the financial backing and commissioning the project should certainly have input in the outcome of the design process. Whether a school, house, or theatre is built is certainly for the client to decide without influence from the design architect. The facilities then, the bathrooms, the size of spaces and accessibility requirements should be determined by the client and user in collaboration. These two parties also have input on the style and look of the project, as it reflects back on those who use the space and those who commissioned it. The architect’s role, if this template is followed becomes less of a design force and more of a mediation service. Clearly an expert in the built environment, the design architect is certainly qualified to provide mediation and moderation of ideas and produce a building that does nothing less than fully satisfy both client and user. Architect however, is not building designer, nor draftsperson, it is an institution that satisfies a high level of taste, and guarantees a timeless and successful architecture. Architects have been limited by the culture of building in the modern world. In an idyllic architectural world, the budget would be unlimited, building and planning restrictions wouldn’t exist, and the very real pressures of business would be removed from what is essentially art. The values of the architect are just as important as that of the client and user. In a case that disagreements occur, it is an indication that the relationship between the three parties is not conducive to creating architecture. The answer to the question, the values of the client, user and architect should correlate if architecture is to be created. In a situation where the architects values are compressed and manipulated, the result is a building, it satisfies its purpose, it is not however architecture. How do architects value clients? Peter Eisenman, architect of most recently and prolifically the Memorial to the Murdered Jews of Europe, and House VI (Frank residence) has an unorthodox view on client/architect relationships. The latter of his designs, House VI, built for architecture historian Suzanne Frank has been labelled an “arbitrary pursuit of a series of geometric transformations over all else; use, technology, context, symbolism, even aesthetics,”(Russell 1995). Eisenman’s relentless pursuit of ‘high architecture’ meant a difficult journey for the clients and a sacrificing of their values and interests for the sake of architecture. In an exposé written by the client entitled Peter Eisenman's House VI: The Client's Response, Eisenman is criticised for dismissing the needs of the client in terms of budget, timeframe, construction issues etc. On the other hand, the book hails the house as a masterpiece of modern architecture. In a typical situation, where the client is not a versed expert in architecture, Eisenman would likely have not received the praise he did in the book. From the point of view of satisfying the needs of the client, the architect in this case fell far short. To Eisenman, the success of a piece of architecture should not be judged on whether or not the house was water tight and inhabitable, more on how the building was received by his fellow architects and critics. In the case of House VI, the client was also an architecture critic, which allows for unique insight into the process of creating architecture. Contrastingly, in the design process for St Matthew’s Cathedral, the late Charles Moore employed modern and idealistic techniques for involving the interests, values and input of the clients. The contract drawn for the cathedral included a satisfaction clause ensuring construction could not start until the congregation had at least two-thirds approval. To achieve this, Moore concluded that the congregation would have to design the church themselves, with his professional input. Workshop sessions were held on Sundays and parishioners were invited to sketch, measure, innovate, and propose designs for the church. What resulted was a wildly successful collaboration amongst the parishioners (despite their predictions to the contrary) and strong design concepts like a cruciform plan, with semicircle seating to ensure that all the worshippers are near to the pulpit, but without looking at one another, and full height glass panels to open the church to its surroundings. Charles Moore took these threads of design and wove them into the fabric of successful architecture. What resulted is a spectacular space that continues to perform as a triumphant tribute to the beliefs of those who designed the space. Charles Moore fulfilled his duty as architect by moulding the opinions and interests of the clients into architecture. Russell, Barry (1995) Peter Eisenman's House VI: The Client's Response. In The Architectural Review – Book Reviews. (Issue June 1995). Retrieved 6 August 2008 from: http://findarticles.com/p/articles/mi_m3575/is_n1180_v197/ai_17277360
Thanks to Duccio Malagamba Architectural Photography for sending me the below photos of the City of Culture of Galicia in Santiago de Compo...
Completed in 1989 in Columbus, United States. Before it was even completed, New York Times critic Paul Goldberger dubbed the Wexner Center for the Arts “The Museum That Theory Built.” [1] Given...
blog sobre arquitectura y arte contemporáneo | seguimiento diario de la actualidad española y mundial.
Architect Peter Eisenman talks to ARCHITECT about his 10 years of research into Andrea Palladio, and how he intends to reinterpret the 16th-century master.
Today is Peter Eisenman's 82nd birthday! Happy B-Day Mr.! (Eisenman House VI).
blog sobre arquitectura y arte contemporáneo | seguimiento diario de la actualidad española y mundial.
Image 2 of 12 from gallery of AD Classics: Wexner Center for the Arts / Peter Eisenman. Photograph by Flickr user: joevare
University of Hartford architecture professor Michael J. Crosbie has chosen 12 relatively young New York-based architectural firms and named the group The New York Dozen; together they are the subjects of a new book he's written of the same name.
A documentary about the early beginning of the deconstructivist era of the architecture flourishing in the 80´ties.Interviews with Zaha Hadid, Peter Eisenman,
