- Peter Eisenman was born in Newark, New Jersey.
- He studied at Cornell and Columbia Universities .
- Eisenman first rose to prominence as a member of the New York Five.
- In 2001, Eisenman won the National Design Award for Architecture from the Cooper-Hewitt National Design Museum.
- Eisenman has always sought somewhat obscure parallels between his architectural works and philosophical or literary theory.
- His earlier houses were “generated” from a transformation of forms related to the tenuous relationship of language to an underlying structure.
- Eisenman’s latter works show a sympathy with the ideas of deconstructionism.
- He tries to do is to ‘unlink’ the function that architecture may represent from the appearance – form – of that same architectural object.
- Artificial excavation
- Find traces of history.
- Interpret form and meaning.
- Derive new forms and meaning by layering and deforming.
- Shear: Skew objects
- Interference: Study interactions
- Intersection: Emergent shapes
- Distortion: Transform shapes
- Scaling: Rotation
- Historical reading of the site: Superposition
- Deformation strategy: Diagrammatic image
- Elaboration: Design
- Additional elements
- Outside architecture
- Related to project
- Informing and deforming
- Add to superposition
- Deform composition
- Diagrammatic model
- Physical scale model
- Computer model
- Characterized by ideas of fragmentation.
- Characterized by a stimulating unpredictability and a controlled chaos.
- House VI(Frank residence), Cornwall, Connecticut.Design: 1972.
- Wexner Centre for the Arts, Ohio State University,Ohio, 1989
- Nunotani Building, Edogawa Tokyo Japan, 1991
- Greater Columbus Convention Centre, Ohio,1993
- Aronoff Centre for Design and Art, University for Cincinnati, Cincinnati, Ohio, 1996
- City of Culture of Galcia, Santiago de Compostela, Galcia, Spain, 1999
- Memorial to the Murdered Jews of Europe, Berlin, 2005
- University of Phoenix Stadium, Glendale , Arizona, 2006
- Located in Cornawall,Connecticut.
- Eisenman created a form from the intersection of four planes, subsequently manipulating the structures again and again, until coherent spaces began to emerge.
- The envelope and structure of the building are just a manifestation of the changed elements of the original four slabs, with some limited modifications.
- The purely conceptual design meant that the architecture is strictly plastic, bearing no relationship to construction techniques or purely ornamental form.
- The use of the red stairs in House VI is somewhat odd.
- It is an upside down stairs, marked red, which functions only as to divide the building and provide the house with symmetry.