Professional Documents
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Peter Eisenman: Zameer - Balaji
Peter Eisenman: Zameer - Balaji
Peter Eisenman: Zameer - Balaji
ZAMEER | BALAJI
CPAD
UFA Cinema center sŝƚƌĂĮƌĞƐƚĂƟŽŶ
DECONSTRUCTIVISM (Late 1980s)
MEANING
ͻDevelopment of post modern Architecture
ͻOne of the most visually striking types of art yet developed.
ͻŽƌŶŝŶƚŚĞůĂƚĞϴϬƐŽĨƚŚĞƚǁĞŶƟĞƚŚĐĞŶƚƵƌLJ͘
ͻA style of architectural rule-breaking.
ͻThe more juxtaposed and segregated.
ͻDominated by curvilinear shapes.
ͻComplexity.
ͻContemporary American architecture
CHARACTERISTICS
Dancing house ͻ:ƵdžƚĂƉŽƐĞƐĞůĞŵĞŶƚƐ͘
/ŶŶŽǀĂƟŽŶƚŽǁĞƌ͕,ŽŶŐŬŽŶŐ
ͻZĞĨĞƌƌĞĚƚŽŽďůŝƋƵĞůLJĂƐΗǁĞŝƌĚΗ͘
ZKM Center for Art and Media
ͻEŽŶͲƌĞĐƚŝůŝŶĞĂƌƐŚĂƉĞƐ͘
ͻDĂŶŝƉƵůĂƚŝŽŶŽĨƐƵƌĨĂĐĞ͘
ͻZĞũĞĐƚƐƚŚĞŝĚĞĂŽĨWĞƌĨĞĐƚĨŽƌŵ͘
ͻŶŐƵůĂƌůŝŶĞƐƚŽŽŬĚŽŵŝŶĂŶĐĞŽǀĞƌĐƵďĞƐ͘
Technology
ͻDŽƌĞŽĨzED/ƌĐŚŝƚĞĐƚƵƌĞ͘
ds,ĞĂĚƋƵĂƚĞƌƐ
ĞĐŽŶƐƚƌƵĐƟǀŝƐƚŵŽĚĞů
PETER EISENMAN
02
CPAD
CHRONOLOGY OF WORKS - PETER EISENMAN
PETER EISENMAN
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INTRODUCTION
Peter Eisenman’s Wexner Center was designed by him along Architect : Peter Eisenman
ǁŝƚŚ ĂƌĐŚŝƚĞĐƚZŝĐŚĂƌĚ dƌŽƩ͕ĂŶĂƟǀĞŽĨ ŽůƵŵďƵƐ͕ K,͕ǁŚĞƌĞ >ŽĐĂƟŽŶ͗KŚŝŽ^ƚĂƚĞhŶŝǀĞƌƐŝ-
the building was erected. The building serves as a contempo- ƚLJ͕ŽůƵŵďƵƐ͕KŚŝŽŵĂƉ
ƌĂƌLJĂƌƚůĂďŽƌĂƚŽƌLJŽŶKŚŝŽ^ƚĂƚĞ͛ƐĐĂŵƉƵƐ͕ĐŽŶƐƚƌƵĐƚĞĚŝŶƚŚĞ ĂƚĞ͗ϭϵϴϯƚŽϭϵϴϵƟŵĞůŝŶĞ
ŵŝĚͲϴϬƐĨƌŽŵϭϵϴϯͲϴϵ͘dŚŝƐǁĂƐŝƐĞŶŵĂŶ͛ƐĮƌƐƚƉƵďůŝĐƐƚƌƵĐ- Building Type : University arts
ƚƵƌĞĂŌĞƌLJĞĂƌƐŽĨďĞŝŶŐĂƚŚĞŽƌŝƐƚĂŶĚĐƌŝƟĐŽĨĂƌĐŚŝƚĞĐƚƵƌĞ͕ĂŶĚ center
ǁĂƐŚŝŐŚůLJĂŶƟĐŝƉĂƚĞĚ͘EŽƚŽŶůLJǁĂƐŝƚŝƐĞŶŵĂŶ͛ƐĮƌƐƚƐƚƌƵĐ- ŽŶƐƚƌƵĐƟŽŶ ^LJƐƚĞŵ ͗ ƐƚĞĞů͕
ƚƵƌĞ͕ďƵƚĂůƐŽŽŶĞŽĨƚŚĞĮƌƐƚƚƌƵĞĚĞĐŽŶƐƚƌƵĐƟǀŝƐƚďƵŝůĚŝŶŐƐƚŽ ĐŽŶĐƌĞƚĞ͕ŐůĂƐƐ
ďĞďƵŝůƚ͘ŝƐĞŶŵĂŶǁĂƐ͕ĂŶĚƐƟůůŝƐ͕ĂĐŚĂŵƉŝŽŶŽĨƚŚĞĚĞĐŽŶ- Climate : temperate
ƐƚƌƵĐƟǀŝƐƚ ŝĚĞĂ͕ Ă ƉŽƐƚŵŽĚĞƌŶ ƐƚLJůĞ ǁŚŝĐŚ ďĞŐĂŶ ŝŶ ƚŚĞ ϴϬƐ Context : university campus
ǁŚŝĐŚ ĞdžŚŝďŝƚƐ ĨƌĂŐŵĞŶƚĂƟŽŶ ĂŶĚ ĚŝƐƚŽƌƟŽŶ ŽĨ ƐƚƌƵĐƚƵƌĞ͕ ĂƐ ŝĨ ^ƚLJůĞ ͗ ĞĐŽŶƐƚƌƵĐƟǀŝƐƚ
ƚĂŬŝŶŐĂĐŽŚĞƌĞŶƚďƵŝůĚŝŶŐĂƉĂƌƚĂŶĚƚŚĞŶĐŚĂŽƟĐĂůůLJƉƵƫŶŐŝƚ WEXNER CENTRE | CONCEPT Modern
back together. ͻ͞ŽŶƚĞdžƚƵĂůŝƚLJ͟ŽĨƚŚĞƉůĂĐĞŝƐŵĂŝŶƚĂŝŶĞĚ͘ Feature : Purposeful collision
ͻ^ƚƌŽŶŐŐƌŝĚƐLJƐƚĞŵƐĚŽŵŝŶĂƚĞƚŚĞĨŽƌŵĂůůĂŶŐƵĂŐĞŽĨƚŚĞďƵŝůĚŝŶŐ͘
ͻdŚĞƐĐĂīŽůĚŝŶŐĂƌŽƵŶĚƚŚĞďƵŝůĚŝŶŐĐƌĞĂƚĞƐƚƌĂŶƐƉĂƌĞŶĐLJĂŶĚĚĞƉƚŚŝŶƐƉĂĐĞ͘
ͻdŚĞƐĐĂīŽůĚŝŶŐŵĂŬŝŶŐƚŚĞďƵŝůĚŝŶŐĂƉƉĞĂƌŝŶĐŽŵƉůĞƚĞĂŶĚĚŝƐƚƌĂĐƟŶŐ͘
ͻůŝŐŶƐƚŚĞďƵŝůĚŝŶŐĐƌŽŽŬĞĚůLJǁŝƚŚƌĞŐĂƌĚƚŽĂŶŽƌƚŚŽŐŽŶĂůŐƌŝĚ͕ǁŚŝĐŚƐŚŽǁƐ
͞ĚŝƐŽƌŐĂŶŝƐĂƟŽŶ͘͟
ͻdŚĞĐƌŽŽŬĞĚĂŶĚĂůŝŐŶĞĚŐƌŝĚƐŝŶƚĞƌƐĞĐƚĂŶĚĐŽůůŝĚĞ͕ĨŽƌŵŝŶŐĂĚŝƐŽƌŝĞŶƟŶŐĂŶĚ
hŶĨŽƌƚƵŶĂƚĞůLJ͕ ŝŶ ƚŚĞ ĞŵƉŚĂƐŝƐ ŽĨ ƚŚĞ ĚĞĐŽŶ- ͞ĐŚĂŽƟĐ͟ĨĞĞůŝŶƐŝĚĞƚŚĞďƵŝůĚŝŶŐ͕ǁŚŝĐŚĂŐĂŝŶĞŵƉŚĂƐŝnjĞƐĚĞĐŽŶƐƚƌƵĐƟǀŝƐƚƉƌŝŶ-
ƐƚƌƵĐƟǀŝƐƚƐƚLJůĞ͕ƚŚĞďƵŝůĚŝŶŐůŽƐĞƐĨƵŶĐƟŽŶĂůŝƚLJ͘ ciples.
dŚĞĚĞƐŝŐŶĐĂƵƐĞƐĐŽŶƐƚƌƵĐƟŽŶŝƐƐƵĞƐ͕ŝŶĐůƵĚŝŶŐ
ĂůĞĂŬLJƌŽŽĨĐĂƵƐĞĚďLJƚŚĞĐƌŽŽŬĞĚŝŶƚĞƌƐĞĐƟŽŶ
ŽĨƉůĂŶĞƐ͕ĂŶĚŵĂƚĞƌŝĂůŝƐƐƵĞƐĂƚŽƚŚĞƌĂƌĞĂƐŝŶ
ƚŚĞďƵŝůĚŝŶŐ͘dŚĞƐĐĂīŽůĚŝŶŐ͕ƚŚŽƵŐŚŝƚĐƌĞĂƚĞĚ
ƚƌĂŶƐƉĂƌĞŶĐLJ͕ ůĞƚ ŝŶ ƚŽŽ ŵƵĐŚ ĚŝƌĞĐƚ ƐƵŶůŝŐŚƚ͕
causing damage to artwork in galleries and tem-
ƉĞƌĂƚƵƌĞ ŇƵĐƚƵĂƟŽŶƐ ŽĨ ƵƉ ƚŽ ϰϬ ĚĞŐƌĞĞƐ
indoors.
dŚĞĐŽůůŝĚŝŶŐƉůĂŶĞƐĂƌĞƐĂŝĚƚŽŐŝǀĞĂ͞ŚŽƐƟůĞ͟ĨĞĞůŝŶŐƚŽƵƐĞƌƐ͖
PETER EISENMAN
ŝƐĞŶŵĂŶ ŚŝŵƐĞůĨ ƐĂŝĚ ƚŚĂƚ ƵƐĞƌƐ ŽŌĞŶ ǁŝůů ĂŶĚ ƐŚŽƵůĚ ĨĞĞů
ŶĂƵƐĞŽƵƐ ŝŶƐŝĚĞ ĚƵĞ ƚŽ ƚŚĞ ĚŝƐŽƌŝĞŶƟŶŐ ĞīĞĐƚƐ ŽĨ ƚŚĞ ŵŝƐ-
ƉůĂĐĞĚǁĂůůƐ͘ůůŽĨƚŚĞƐĞĨĂƵůƚƐůĞĚƚŽĂŶĞĐĞƐƐĂƌLJƌĞŶŽǀĂƟŽŶ
over the course of three years beginning in 2003.It seeks to
manipulate form and alienate it from its underlying structure
which holds the building up. The form and surface are meant
ƚŽĞdžŚŝďŝƚĂ͞ĐŽŶƚƌŽůůĞĚĐŚĂŽƐ͕͟ĂĚŝƐƋƵŝĞƟŶŐƵŶƉƌĞĚŝĐƚĂďŝůŝƚLJ͘
03
CPAD
PLAN
/ŶĐůƵĚĞĚŝŶƚŚĞtĞdžŶĞƌĞŶƚĞƌƐƉĂĐĞĂƌĞĂĮůŵĂŶĚǀŝĚĞŽƚŚĞĂƚĞƌ͕Ă
ƉĞƌĨŽƌŵĂŶĐĞƐƉĂĐĞ͕ĂĮůŵĂŶĚǀŝĚĞŽƉŽƐƚƉƌŽĚƵĐƟŽŶƐƚƵĚŝŽ͕ĂŬ-
ƐƚŽƌĞ͕ ĐĂĨĠ͕ ĂŶĚ ϭϮ͕ϬϬϬ ƐƋƵĂƌĞ ĨĞĞƚ ;ϭ͕ϭϬϬ ŵϸͿ ŽĨ ŐĂůůĞƌŝĞƐ͘The 2005
ƌĞŶŽǀĂƟŽŶŽƌŝŐŝŶĂůůLJĞŶůŝƐƚĞĚƚŚĞŚĞůƉŽĨĂůŽĐĂůĮƌŵ͕ƚŚĞŶƐǁŝƚĐŚĞĚƚŽ
ƌƵƉ͘ /Ŷ ĂĚĚŝƟŽŶ ƚŽ ƚŚĞ ďƵŝůĚŝŶŐ ĞŶǀĞůŽƉĞ͕ ƚŚĞ ƐĐŽƉĞ ŽĨ ƌĞŶŽǀĂƟŽŶ
ŝŶĐůƵĚĞƐ,s͕ůŝŐŚƟŶŐ͕ĞůĞĐƚƌŝĐĂů͕ƉůƵŵďŝŶŐ͕ĮƌĞƉƌŽƚĞĐƟŽŶƐLJƐƚĞŵƐ͘
PETER EISENMAN
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SPATIAL ANALYSIS
͞dŚĞtĞdžŶĞƌĞŶƚĞƌŐŝǀĞƐLJŽƵĂĐŽŶƐƚĂŶƚůLJŇƵĐƚƵĂƟŶŐƐƉĂĐĞ͘͟
͞dŚĞƌĞŝƐŶŽƐƚĂƟĐƐƉĂĐĞ͕ŶŽƌĞƉŽƐĞ͘͟
Landscaped court
Older Arsenal Grid - Form Study
Entry
Campus & City Grid
PETER EISENMAN
^ƚƌƵĐƚƵƌĂůŐƌŝĚĂƐƵŶŝƋƵĞĞůĞŵĞŶƚ
Informal amphitheatre Ϭϰ
06
dŚĞĨŽƵŶĚĂƟŽŶƐŽĨƚŚĞĂƌŵŽƌLJǁĞƌĞ͞ĚƵŐ͟ĂƐĂŶĞůĞŵĞŶƚŽĨƚŚĞƉĂƚŚŽŶƚŚĞǁĞƐƚƐŝĚĞŽĨƚŚĞƐŝƚĞ͘ŵŽŶŐƚŚĞĨŽƌŵƐ
ŽĨƚŚĞďƵŝůĚŝŶŐ͕ǁŝƚŚƐŽůŝĚŵĂƐƐĞƐŽĨďƌŝĐŬƐ͕ƚŚĞĞdžĐĂǀĂƚĞĚƐƉĂĐĞŝƐĐůŽƐĞĚǁŝƚŚĂƟŶƚĞĚŐůĂƐƐĐƵƌƚĂŝŶǁĂůůǁŝƚŚĂŶ
ĂůƵŵŝŶƵŵŵƵůůŝŽŶĂůůŽǁŝŶŐƉĂƐƐĂŐĞŽĨůƵLJĂŶĚĞǀŽŬĞƐƚŚĞƵƐĞŽĨƚŚĞŐƌŝĚ͕ƌĞĐƵƌƌĞŶƚŝŶƚŚĞǁŽƌŬƐƌĐŚŝƚĞĐƚ͘dŚĞĐŽŶ-
trast created by the ĂŶŽĚŝnjĞĚĂůƵŵŝŶƵŵŵƵůůŝŽŶƐŝŶƚĞŶƐŝĮĞƐƚŚĞĚĞƉƚŚimpenetrable glass.
dŚƵƐ͕ĂƐŝƐĞŶŵĂŶŝƐŶŽƚĐĂƌĞĨƵůůLJƌĞǀĞĂůŝŶŐŚŝƐŐƌŝĚǁŝƚŚŝŶƚŚĞƐƚƌƵĐƚƵƌĞ͕ĂĐŽŶĐůƵƐŝŽŶŵŝŐŚƚďĞƚŚĂƚŚĞŝƐƉƌŽŵŝŶĞŶƚůLJĚŝƐƉůĂLJŝŶŐŝƚ͕ĂƐ
ŝĨƚŚĞďƵŝůĚŝŶŐĂŶĚƚŚĞƐŝƚĞĂƌĞĨƵŶĐƟŽŶŝŶŐĂƐĂďĂƐĞĨŽƌĂƌĐŚŝƚĞĐƚƵƌĞĂƐƐĐƵůƉƚƵƌĞ͘
PETER EISENMAN
ĐŽŶƐƚƌƵĐƟŽŶ͛ƐĚĞƐƚƌƵĐƟǀĞƐŝĚĞ͘DŽƌĞŵĞĂŶŝŶŐĨƵůůLJĨŽƌƚŚĞĂƌĐŚŝƚĞĐƚƵƌĞ͕ƚŚĞLJĂƌĞĨƌĂŐŵĞŶƚĞĚĞůĞŵĞŶƚƐŽĨŚŝƐƚŽƌŝĐŝƚLJ͕
split and carved apart in a way that renounces the importance of precedent far more than honors it. They are one
ƉĂƌƚŽĨƚŚĞĐŽŵƉůĞdžĂŵĂůŐĂŵŽĨĞůĞŵĞŶƚƐĂŶĚƋƵŽƚĂƟŽŶƐƚŚĂƚŐŝǀĞƚŚĞďƵŝůĚŝŶŐĞǀĞƌLJďŝƚŽĨƚŚĞĐŽůůĂŐĞͲůŝŬĞĨĞĞůŝŶŐ
ƌĞŇĞĐƚĞĚŝŶŝƐĞŶŵĂŶΖƐƚƌĂĚĞŵĂƌŬĚƌĂǁŝŶŐƐ͘
,ĞĞǀŽŬĞĚƚŚĞŵĞŵŽƌLJŽĨƚŚĂƚƐƚƌƵĐƚƵƌĞŝŶƚŚĞŶĞǁďƵŝůĚŝŶŐďLJƌĞĨĞƌĞŶĐŝŶŐƚŚĞĂƌŵŽƌLJ͛ƐƌĞĚďƌŝĐŬ͕ĐƌĞŶĞůĂƚĞĚƚŽǁĞƌƐ
ŝŶƚŚĞtĞdžŶĞƌĞŶƚĞƌ͛ƐŽǁŶĐĂƐƚĞůůĂƚĞĚĨŽƌŵ͘ZĂƚŚĞƌƚŚĂŶƐŝŵƉůLJƌĞƉĞĂƟŶŐƚŚŝƐ͞ŚŝƐƚŽƌŝĐĂů͟ĨŽƌŵ͕ŚŽǁĞǀĞƌ͕ŝƐĞŶŵĂŶ
ĐŚĂůůĞŶŐĞƐƚŚĞĞǀŽĐĂƟŽŶďLJ͞ƐůŝĐŝŶŐ͟ƚŚĞŶĞǁƚŽǁĞƌŝŶƚǁŽĂŶĚŽīƐĞƫŶŐĞĂĐŚŚĂůĨĨƌŽŵƚŚĞŽƚŚĞƌ͘
07