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El edificio para la sede de Nunotani en Tokio (Nunotani Building) fue diseñada por el arquitecto estadounidense de origen judío Peter...
Peter Eisenman is an internationally recognized architect and educator whose award-winning large-scale housing and urban design projects, innovative facilities for educational institutions, and series of inventive private houses attest to a career of excellence in design.
Arquitectura + Electricidad
Image 37 of 39 from gallery of Interview with Peter Eisenman: "I Am Not Convinced That I Have a Style". The Memorial to the Murdered Jews of Europe in Berlin, Germany. Image Courtesy of Eisenman Architects
As one of the most revered and often reviled architects of the latter part of the 20th century, Peter Eisenman has courted controversy throughout his...
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Image 8 of 12 from gallery of AD Classics: Wexner Center for the Arts / Peter Eisenman. Photograph by Brad Feinknopf
The Memorial to the Murdered Jews of Europe (German: Denkmal für die ermordeten Juden Europas), also known as the Holocaust Memorial (German: Holocaust-Mahnmal), is a memorial in Berlin to the Jewish victims of the Holocaust, designed by architect Peter Eisenman and engineer Buro Happold. It consists of a 19,000 square meter (4.7 acre) site covered with 2,711 concrete slabs or "stelae", arranged in a grid pattern on a sloping field. The stelae are 2.38m (7.8') long, 0.95m (3' 1.5") wide and vary in height from 0.2 m to 4.8m (8" to 15'9"). According to Eisenman's project text, the stelae are designed to produce an uneasy, confusing atmosphere, and the whole sculpture aims to represent a supposedly ordered system that has lost touch with human reason. A 2005 copy of the Foundation for the Memorial's official English tourist pamphlet, however, states that the design represents a radical approach to the traditional concept of a memorial, partly because Eisenman did not use any symbolism. An attached underground "Place of Information" (German: Ort der Information) holds the names of all known Jewish Holocaust victims, obtained from the Israeli museum Yad Vashem. Building began on April 1, 2003 and was finished on December 15, 2004. It was inaugurated on May 10, 2005, sixty years after the end of World War II, and opened to the public on May 12 of the same year. It is located one block south of the Brandenburg Gate, in the Friedrichstadt neighborhood. The cost of construction was approximately €25 million. In April 1994 a competition for its design was announced in Germany's major newspapers. Twelve artists were specifically invited to submit a design and given 50,000 DM (€ 25,000) to do so. The only rules and guidelines given were that building the project could only cost up to 15 million DM (€ 7.5 million). The winning proposal was to be selected by a jury consisting of representatives from the fields of art, architecture, urban design, history, politics and administration. It included a few minor celebrities such as Frank Schirrimacher, co-editor of the Frankfurter Allgemeine Zeitung. The deadline for the proposals was October 28. On May 11, an information colloquium took place in Berlin, where people interested in submitting a design could receive some more information about the nature of the memorial to be designed. Ignatz Bubis, the president of the Zentralrat der Juden in Deutschland, and Wolfgang Nagel, the construction senator of Berlin, spoke at the event. Before the deadline, the documents required to submit a proposal were requested over 2600 times and 528 proposals were submitted. The jury met on January 15, 1995 to pick the best submission. First, Walter, the president of the Akademie der Kunste was elected chairman of the jury. In the following days, all but 13 submissions were eliminated from the race in several rounds of looking through all works. As had already been arranged, the jury met again on March 15. 11 submissions were restored to the race as requested by several jurors, after they had had a chance to review the eliminated works in the months in between the meetings. Two works were then recommended by the jury to the foundation to be checked as to whether they could be completed within the price range given. One was designed by a group around the architect Simon Ungers from Hamburg; it consisted of 85x85 m square of steel girders on top of concrete blocks located on the corners. The names of several extermination camps would be perforated into the girders, so that these would be projected onto objects or people in the area by sunlight. The other winner was a design by Christine Jackob-Marks. Her concept consisted of 100x100 m large concrete plate, 7 meters thick. It would be tilted, rising up to 11 meters and walkable on special paths. The names of the Jewish victims of the Holocaust would be engraved into the concrete, with spaces left empty for those victims whose names remain unknown. Large pieces of debris from Massada, a mountaintop-fortress in Israel, whose Jewish inhabitants killed themselves to avoid being captured or killed by the Roman soldiers rushing in, would be spread over the concrete plate. These plans would eventually be vetoed by Chancellor Helmut Kohl. Text taken from Wikipedia.
We all know that architects design buildings, those discrete objects that sit on a site somewhere in a town or a city or the suburbs or the countryside. We also know that architects, at least most …
Su trabajo está presente en nuestro país en la Ciudad de la Cultura de Santiago de Compostela, pero este arquitecto, teórico y maestro estadounidense es autor de obras arquitectónicas emblemáticas.
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
Peter Eisenman is an internationally recognized architect and educator whose award-winning large-scale housing and urban design projects, innovative facilities for educational institutions, and series of inventive private houses attest to a career of excellence in design.
The top architect talks about the difference between houses and homes, and there’s a lesson for every homeowner.
This is something special, but you'll need some serious money to buy this 1970s Peter Eisenman-designed House VI modernist property in West
#PrettyPicMonday: The Aronoff Center (Donny Zellefrow)
Attese da anni, attraverso l’impianto curvilineo che guarda a Muzio e a Boccioni dialogano con il tessuto novecentesco. Ma in modo critico
Image 3 of 8 from gallery of From Formalism to Weak Form: The Architecture and Philosophy of Peter Eisenman. Courtesy of Stefano Corbo
