Posts tagged with "Peter Eisenman":

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Palladio and his architecture come alive in new film

A new feature-length documentary from Italian filmmaker Giacomo Gatti exploring the impact of 16th-century architect Andrea Palladio and his architecture is set to screen across the world this year, beginning with showings in Italy on May 20. Taking a roaming, non-linear approach, the 97-minute film, Palladio: The Power of Architecture, features the likes of Lionello Puppi, Kenneth Frampton, George Saumarez Smith, and Peter Eisenman reflecting on their relationship to his historic influence and outsize role in the architectural imagination. The film was shot across both the United States and Europe, with students and scholars at Yale and Columbia talking about Palladio’s legacy intercut with footage of major sites like the Villa Foscari (often called La Malcontenta), Villa Capra (or "La Rotonda"), and other locations in Italy. While the film does consider the more formal aspects of Palladio’s and his imitators’ work, the film is no mere celebration or aesthetic survey. It attempts to unpack the broader sociopolitical implications of the architecture that resonate to this day, no less so than in the United States, where, a favorite of the so-called Founding Fathers, especially Thomas Jefferson, Palladio was declared the “Father of American Architecture” by Congress in 2010. (That political body’s own building’s Neoclassicism is itself inspired by Palladio’s aesthetic philosophy, though of course even more recognizably Palladian examples, like the University of Virginia Rotunda and Monticello, exist across the nation, especially in the D.C. area.) The film also wrestles with the place of conservation in architecture and what it’s like to live in a Palladian villa in the 21st century.  
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Peter Eisenman's Cidade da Cultura buzzes back to life

On a recent early morning visit to Peter Eisenman's Cidade da Cultura I found not one, but two cafés open and buzzing with the chatter of government administrators and entrepreneurial types getting ready to start their workdays. In Spain, and in particular in Galicia, the northwest region where Cidade is located, cafes are the most reliable measure of civic life. Even the smallest village will have its one café-bar (it is common for the same establishment to function as both), where Galicians gather to share gossip and life stories (Galicians are great storytellers). It’s not entirely unreasonable to refer to Cidade as a village—it is after all a “city” of culture, its site, at 173 acres, larger than the Vatican. And like any city, it has had its share of political and economic imbroglios. Not too long ago, the project was left for dead after failing to meet promises to be “the Bilbao of Galicia,” an iconic building that would bring both cultural and economic success to the city and region. In 2015, an article in La Voz de Galicia, a regional newspaper, declared that “not even the Apostle can save it,” alluding to the reputed burial place of Saint James in the cathedral of Santiago de Compostela. The old city is an important Catholic pilgrimage site, second only to the Vatican, and Cidade da Cultura was supposed to be another stop for the couple of million visitors that make their way to Santiago de Compostela every year. Indeed, in 2015 it seemed that only a miracle could save the project. Galicia’s government commissioned this ambitious six-building project in 1999 when Spain was going through a real estate boom (Spain is divided in autonomous regions, and so it’s the regional government that makes budget allocation decisions). But by the time the first two buildings opened in 2011, the boom had ended and the project was an easy target—why build such a large, expensive complex when resources are scarce? Construction of the project was eventually halted, leaving behind four largely empty buildings and two “caries,” or cavities where the two missing teeth should be. But Cidade is no longer empty and things are looking up. There are many outdoor events in the fair weather months between April and September, the surrounding ramped surfaces of the roofs forming a kind of amphitheater for the performances in the center. And all year round there are employees from both public and private entities working in Cidade, the people that keep those two cafes in business. When I met with Cidade’s director Ana Isabel Vázquez Reboredo, she reiterated what she had previously stated in interviews since she started in this position two years ago, that her goal is to make Cidade into a resource for the entire region of Galicia, not just the city of Santiago de Compostela where it’s located. Santiago de Compostela is the famous pilgrimage city, and Cidade has become a kind of architecture pilgrimage for students and architects. A new highway entrance promises to make the project more accessible to national and international visitors. Cidade is now a fifteen-minute drive from the airport, and from there, Madrid is a one-hour flight and Paris and London only two hours away. Twenty years on, two of its buildings remain unbuilt, but both its plaza and the four buildings already completed are vibrantly inhabited. There are many outdoor performances in the fair-weather months between April and September, the surrounding ramped surfaces of the roofs forming a kind of amphitheater for the performances in the center. There are also employees from both public and private entities working in Cidade, the people that keep those two cafés I mentioned earlier in business. The project is being used, but much of the original programming has changed. For example, the “Hemeroteca,” or newspaper archive, had originally been given its own building but is now housed in the library. What was originally the Hemeroteca is now the “Centro de Emprendemento,” a business incubator facility. And how does the architect feel about this? In a recent conversation with Peter Eisenman in his office in New York, he was excited to see the spaces in his project utilized in new ways. “The idea of the project was always to offer a framework for new cultural ideas that are constantly emerging,” he said. The project is a case study in the complexities of a large project that has to negotiate local, regional, and international socio-cultural and socio-political concerns. Is the project benefiting the people already living in Santiago de Compostela? Can the region of Galicia feel ownership of this project even though it’s tied so closely, in both location and design, to one city? And how do you get there? One westernmost coastal town in Galicia, Finisterre, was the Roman Empire’s “end of the earth,” and even today getting there still feels like a pilgrimage, completed only by the most faithful. The undulating hilly landscape that makes Galicia so picturesque is also what makes it impossible to get anywhere in a straight line. The A-9 highway wraps around the Gaiás hill where Cidade is located like a ribbon, and driving to it I felt like I was engaged in some baroque dance with it, moving around it in arcs at one hundred kilometers an hour until finally arriving, if not at the end of the earth, at the culmination of a worthy pilgrimage. Maria Sieira is an architect based in New York City. She worked for Eisenman Architects on the Cidade da Cultura during its design development. Currently, she teaches architecture at Pratt Institute in Brooklyn, New York, and in the Compostela Institute summer program in Spain.
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How to survive an ecological apocalypse: the architect's guide

The Continuous City: Fourteen Essays on Architecture and Urbanization Lars Lerup Park Books, 2017 $39.00 Lars Lerup, the Swedish-American designer and writer, has published a new book. The Continuous City (Park Books, 2017) presents his latest thoughts on architecture, cities, and the people who inhabit them by way of 14 disparate but interconnected essays. The handsome volume is bound in a matte cover featuring René Magritte’s painting Panorama Populaire (1926), which depicts buildings, a forest, and a seashore stacked atop each other, the ground plane of each upper level sawed away to reveal the strata beneath. The picture turns out to be a perfect signpost for what lies within, as its suggestion that these (and other) seemingly discrete realms are inextricably linked is precisely the crux of Lerup’s otherwise episodic inquiry. Lerup’s two previous titles—One Million Acres & No Zoning (Architectural Association Publications, 2011) and After the City (MIT Press, 2001)—took on the postindustrial car city as a subject of serious study. They look beyond the European-oriented urbanist’s dismissal of such environments as merely “sprawl” to find and examine the often-surreal juxtapositions embedded within that type of built fabric. Both books show Lerup’s fascination with Houston, where he first moved in 1993 from Berkeley, California, to take the job of dean at the Rice School of Architecture, a position he held until 2009. He is currently a professor there. Houston was to architecture in the 1980s what Dubai is to the field today—a petro-capital spending big money on ambitious development projects without paying much attention to the rules. Lerup’s championing of this subject matter in architectural academia (his has been one voice—there are others) has done much to save the discipline from self-inflicted obsolescence, an observation driven home by the fact that approximately 80 percent of currently existing global urban environments are designed and constructed around the automobile. His leadership also supported and propelled other academics who have done important work in this area, including Rice colleague Albert Pope, whose seminal volume, Ladders (Princeton Architectural Press, 1996), laid the groundwork for serious consideration of the postwar American city, and former Rice assistant professor Keith Krumwiede, whose latest book, Atlas of Another America: An Architectural Fiction (Park Books, 2016), explores speculative futures of suburbia. Another of Lerup’s preoccupations is subjectivity. In the 1970s, during a sabbatical from UC Berkeley, Peter Eisenman invited him to the Institute for Architecture and Urban Studies in New York (Rem Koolhaas was writing Delirious New York just down the hall). Lerup’s design work exhibits ties to that lineage of formal exploration and defamiliarization, but where Eisenman seeks to liberate architecture from the user, Lerup’s ambition has been to explore the problems of the urban inhabitant. For example, he did several years of research with the National Bureau of Standards in Washington, D.C., on how people in nursing homes panic and escape buildings that are on fire. The result was a series of publications compiled into Learning from Fire: A Fire Protection Primer for Architects, composed of a series of hand-drawn comic strips that depict nurses and patients reacting to infernos. In Continuous City, Lerup says hello to the Anthropocene. Quoting from the introduction: “The Anthropocene brings with it the realization that we live in a new (catastrophic) geological era of our own making. This is no longer a squabble between liberty or community, but a need to avert disaster. Lacking easy answers, we now seek opportunities for change, skirting the dark side of the new city, which the earlier books dealt with, to find in architecture a device for positive movement forward.” He argues that conceptual distinctions between urban and suburban, or urban and rural, are no longer productive. “The urban,” he writes, “is inescapable. The city is everywhere.” Lerup’s hunt for constructive examples takes the reader on a journey that spans the globe and delves into the history of human settlement. He establishes links between the plan of Teotihuacán and OMA’s Seattle library, investigates the coexistence of natural and built environments in the work of Roberto Burle Marx, considers the synergies of Herzog & de Meuron’s Miami garage, and worries the uneasy relationship between users’ topological experience and the planner’s topographic approach. His findings are as revelatory as they are perturbing. If humankind is to survive the era of global warming (the Anthropocene’s most threatening result), there remains much more work to be done.
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Architect Albert Speer, Jr., son of Nazi chief architect, dies at age 83

Internationally renowned architect Albert Speer, Jr. died on September 15 at the age of 83. He was one of Germany’s most respected architects and urban planners in his own right, but spent much of his career trying to separate his reputation from his father’s, who served as Adolf Hitler's chief architect. While father and son are tied together by blood, Speer, Sr. and Speer, Jr.'s architectural legacies have left contrasting marks on the built environment. The elder’s radical visions and mostly uncompleted projects are remembered as dark points in architectural history, while Speer Jr.’s modest and progressive approach to city planning have been widely respected within the design community. Speer, Sr., sometimes referred to as "the devil's architect," carried out some of the most flagrant architectural projects of the Third Reich, including the (subsequently demolished) Reich Chancellery, and his intricate plans to turn Berlin into a capital of overwhelming monumental scale, a project which stayed mostly un-completed due to the fall of the Nazi regime. Over the past five decades, Albert Speer Jr. and his Frankfurt-based firm, Albert Speer + Partner, has focused on “human-scale” buildings and sustainable city planning. While Speer Jr. completed numerous projects in his home city of Frankfurt, many of his firm's most renowned projects have been large-scale international commissions. The firm's work ranges from architecture, urban planning, transportation, landscape design and mega-event commissions such as the master plan leading to a successful bid for the 2022 Qatar FIFA World Cup. Other works include international campuses, residential developments, small-scale mixed use developments, educational facilities, and international government buildings. Despite prolonged attempts to overcome his father’s legacy, the architect would occasionally bump up against his family's fascist reputation. When Albert Speer + Partner decided to work on a commissioned project for a courthouse in Riyadh, Saudi Arabia, the firm was accused of working with an authoritarian government, and directly compared to Speer, Sr.’s Nazi legacy. Even-though Speer, Jr.’s discreet, humble and progressive designs were often seen as a conscious attempt to go against  his father’s style, comparisons and criticism still arose. Speer Jr.’s family heritage could never be fully erased. The designer of the Berlin Holocaust Memorial, Jewish American architect Peter Eisenman, Speer's colleague and friend for many years, reflected on their relationship in the Guardian: "With Albert, there is a bit of an edge, but we are great friends. It's the fascination of the other; Albert always wanted to be a Jewish intellectual, and I always wanted to be a f…[fascist] We can't all be what we want to be.”
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Peter Eisenman's 'House II' is for sale and listed at $425,000

UPDATE, 5/26/2017: The following statement was released by Docomomo US:
After a year-long attempt to find new stewards, Peter Eisenman’s House II in Hardwick, Vermont is reaching the zero hour. Devin Colman, the Architectural Historian for the State of Vermont, contacted Docomomo US this week stating, "the owner is willing to sell the house and 15 acres for $425,000 to anyone who will save the house. If it doesn’t sell, he has a buyer ready to purchase it for the land only, demolish House II, and build a new home on the site. The buyer wants to close by the end of June so he can start demolition this summer.
Only the price in the title has been amended. The article otherwise appears as it did on April 24.

Have you always dreamed of living in the cozy hills of Vermont? Do 80 acres of organic farmland and a pond sound just lovely? How about windows in your bedroom overlooking the beautiful mountains and the neighboring rooms?
If this sounds like the life for you, look no further than American architect Peter Eisenman’s experimental ‘House II,’ which has just hit the market for $850,000. ‘House II’ is the second of ten experimental houses designed by Eisenman, and one of only four that were ever built. The project was built in 1969 and the listing hails it as a “mid-century modern” home. Potential buyers should be warned, however, Eisenman’s version of modernism in 'House II' relates more to Noam Chomsky's linguistic structuralism than to the Case-Study Houses and Palm Springs aesthetic that are usually associated with the phrase ‘mid-century modern.’ Eisenman’s experimental houses were known for, well, being very experimental and challenging conventional ways of living. When designing 'House II' Eisenman aimed to create something ambiguous, resembling both an architectural model, an object that dwells in an enigmatic world often lacking scale and materiality, and a home, something physical and, in most cases, functional. In order to accomplish this, Eisenman designed a series of volumes and planes around a square, three-by-three grid. The end result is a home that feels more like an inhabitable sculpture than a traditional house. Since its completion, the home has gotten a new roof (something about flat roofs and Vermont snow causing leaks) and a complete renovation to bring it back to its original semi-livable glory. If all the above facts still do not deter you, you can visit the home’s listing on Zillow here. Don’t say I didn’t warn you.
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Eisenman to Blackwell: When will you leave Arkansas for New York?

This post is part of our years-long running Eavesdrop series (think page 6 for the architectural field). It’s your best source for gossip, insider stories, and more. Have an eavesdrop of your own? Send it to: eavesdrop[at]archpaper.com.

At a party for Marlon Blackwell in honor of his Cooper-Hewitt National Design Award, Peter Eisenman introduced the Fayetteville-based architect and asked him, rather stupidly, “When are you going to get out of Arkansas and come to New York?” The Architect's Newspaper  thinks it is great that Blackwell is thriving outside the coastal echo-chambers, and we are excited to see what the future has in store for Blackwell and his cronies from the Natural State.

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Peter Eisenman’s iconic 1975 House VI finally sells

The Architect's Newspaper has covered the sale of Peter Eisenman’s 1975 House VI in Cornwall, Connecticut since it went on the market in 2013. Commissioned and lovingly cared for by Suzanne and Richard Frank, and located on six acres of farmland and a former schoolyard, it has come close to selling in the past. But we have been told the house has sold to a well-known photographer who has a nearby county house. He will apparently not live full-time in the house but renovate it and use it for cultural events.
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Henning Larsen selected to design University of Cincinnati business school

The team of Copenhagen-based Henning Larsen Architects and Cincinnati-based KZF Design have been selected by University of Cincinnati to design and construct the new $100 million Carl H. Lindner College of Business. The project will consist of 250,000 square foot of class rooms and facilities and will sit on the site of the current Russel C. Myers Alumni Center. The team was selected from a shortlist of three offices that also included London’s Foster+Partners and Bath, U.K.–based FCB Studios International. The process of picking international firms for the project is part of the University’s Signature Architecture Program, a campus planning program which has brought world renounced architects to the University of Cincinnati to design campus buildings for the past 15 years. Henning Larsen will join Frank Gehry, Michael Graves, Peter Eisenman, and Thom Mayne, among others, in having a project on the Uptown campus. KZF Design will act as the local architect of record on the project. The interdisciplinary firm provides architecture, engineering, interiors, and planning, throughout the United States, and has worked on the University of Cincinnati campus in the past. Previously KZF worked with Thom Mayne as part of the Signature Architecture Program on the UC Campus Recreation Center. Founded in 1959, Henning Larsen Architects is known for its civic and cultural work, including the crystalline Harpa Concert Hall and Conference Centre in Reykjavik, Iceland and the more recent Kolding Campus at the University of Southern Denmark. With work throughout Europe and the Middle East, this project will be Henning Larsen’s first major project in the United States. Drawing on the traditions of Scandinavian design, their work often focuses on the control of natural light and the making of central communal spaces.
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On View> MoMA presents "Endless House: Intersections of Art and Architecture"

Endless House: Intersections of Art and Architecture Museum of Modern Art The Robert Menschel Architecture and Design Gallery 11 West 53rd Street, New York Through March 6, 2016 The Museum of Modern Art pays homage to the single-family home in Endless House: Intersections of Art and Architecture, a rich exhibition comprised of photographs, drawings, video, installations, and architectural models from MoMA’s collection. It showcases the artistic endeavors of both architects and artists alike with works that span seven decades. Intriguing house designs—ranging from historical projects by Mies van der Rohe, Frank Gehry, Peter Eisenman, and Rem Koolhaas, to new acquisitions from Smiljan Radic and Asymptote Architecture—are juxtaposed with visions from artists such as Louise Bourgeois, Bruce Nauman, Mario Merz, and Rachel Whiteread. The inspiration for the exhibit’s name is Frederick Kiesler’s "Endless House," shown in the 1960 MoMA show Visionary Architecture. Courtesy MoMA
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On View> Drawings by Hadid, Tschumi, Gehry, Libeskind, and Koolhaas are being exhibited right now in St. Louis

Drawing Ambience: Alvin Boyarsky and the Architectural Association Mildred Lane Kemper Art Museum Washington University in St. Louis 1 Brookings Dr, St Louis, MO Through January 4th The Mildred Lane Kemper Art Museum in St. Louis is currently exhibiting early drawings from some of the world’s leading architects including Zaha Hadid, Bernard Tschumi, Frank Gehry, Daniel Libeskind, and Rem Koolhaas. The works come from the private collection of the late Alvin Boyarsky who chaired the Architectural Association School of Architecture (AA) in London from 1971 to 1990. The collection includes about 40 prints and drawings from the architects, and nine limited-edition folios published by the AA. Those folios include works from Peter Cook, Coop Himmelblau, and Peter Eisenman. “Drawing Ambience offers a rare glimpse into a pivotal moment in architectural history and the imaginative spirit of drawing that was and continues to be instrumental to the development of the field,” said the Kemper Museum in a statement. The exhibit was co-organized with the Museum of Art Rhode Island School of Design and will travel to Providence in April. This is the first public museum exhibition of Boyarsky’s collection.
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Drive-By Design: A billboard by Zaha Hadid proposed for London

09-zaha-billboard-london International outdoor advertising and street furnishings firm JCDecaux and Zaha Hadid Architects have proposed a new billboard design for a busy London intersection. The Paris-based JCDecaux has quite the history of collaborating with high-profile architects and designers—Peter Eisenman, Robert Stern, Gae Aulenti, Philippe Starck, and Lord Norman Foster among them. 06-zaha-billboard-london From an improbable aerial view, the project looks promising. But on the ground, its aesthetic traction is questionable. The design is a retread, both in its resemblance to defective tires and with regard to Hadid's canon of mobius-like creations. The pedestrian experience—no pun intended—doesn't look to be enhanced, either, even though the proposed structure is narrower than the existing advertising kiosk. 07-zaha-billboard-london Could a case be made that such eye-catching, animated structures might contribute to distracted driving? The answer to that question depends on who you ask. The U.S. Department of Transportation conducted a study that concluded digital billboards are no more distracting than stationary signage. But an investigation by the Swedish National Road and Transport Research Institute came to a very different finding, which led to the removal of all such advertisements.
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Artist Paul Tuller Gives Starchitects the Royal Treatment with “Architecture As Crown” Series

Brooklyn-based illustrator Paul Tuller was inspired to create a new poster-portrait series, Architecture As Crown, by his architect boyfriend. This series features illustrations of famous architect's wearing their most famous works on their heads. Beginning as a parody of Andy Warhol's God Save the Queen, the project includes such figures as Peter Eisenman wearing House I as a crown. Purchase your own posters here.