Peter Eisenman has been awarded with the 2014 Piranesi Prix de Rome for Career Achievement by the Accademia Adrianea di Architettura e Archeologia and the Ordine degli Architetti della Provincia di Roma. At the official ceremony to be held in Rome next month, Eisenman will give a lecture that "will concentrate on his theoretical work, with particular reference to the concept of ‘archaeology’ – understood as a design technique based on stratigraphic layering – and on the recent work entitled Piranesi Variations.”
Posts tagged with "Peter Eisenman":
If any admirers of deconstructivism are in the market to buy a house, they will be curious to learn that Peter Eisenman’s iconic structure, House VI, will be up for sale in late May or early June. Owners Suzanne and Richard Frank commissioned Eisenman—a member of the New York Five—to design and build a house on their 6-acre property in Cornwall, Connecticut. Suzanne Frank had previously worked as a researcher and librarian for Eisenman’s Institute for Architecture & Urban Studies. The house, completed in 1975, is an unconventional play on a grid and intended to be a “record of the design process.” The house stands out for its unusual, and often non-functional, features such as an upside down staircase and a column that separates diners at a dinner table. The upkeep hasn’t been easy for the Franks—the house, while an ambitious conceptual undertaking, has required substantial repairs over the years. The Franks discussed their experience with house in a book entitled Peter Eisenman's House VI: The Client's Response.
Decon Artists: Wigley, Tschumi, Eisenman Reflect on MoMA's Landmark "Deconstructivist Architecture" Exhibit
On January 22, Mark Wigley, Bernard Tschumi, and Peter Eisenman took the stage in MoMA’s theater to reflect upon Deconstructivist Architecture, the landmark 1988 exhibit curated by Wigley and Philip Johnson. The press release at the time described the featured architects—including Coop Himmelblau, Frank Gehry, Zaha Hadid, Rem Koolhaas, and Daniel Libeskind, along with Tschumi and Eisenman—as “obsessed with diagonals, arcs, and warped plans.” In a where-are-they-now moment, Wigley said, “It occurred to me that only Daniel Libeskind thought the show was about the future, and he still seems to be designing for the show, and that seems to be not a good idea.” And the sniping didn’t stop there. Eisenman, despite refusing to hold the microphone to his mouth, could be overheard saying what kind of exhibit he would—or rather, wouldn’t—do, if given the chance: “Well, it wouldn’t be like the biennale of last fall, which was sort of a discount supermarket of everything that was going.” “Including you,” zinged Wigley.
Flummoxed Lenox. Inspired by a Gothamist post about hidden rooms in the Frick, Mark Lamster digs a bit deeper and shares his knowledge of the site when it was occupied by the old Lenox Library. "...sober, imposing, and correct, much like the man who designed it, Richard Morris Hunt," he says of the old edifice, before delving into the curious history of the Hunt memorial across the street. Boulevard Blues. Brownstoner is still hammering away at a bleak streetscape along 4th Avenue in Brooklyn, where first floors of the new residential buildings leave a lot to be desired. The site reports that City Planning may be looking at measures to fix mistakes from 2003 upzoning and bring more life onto the street. While they're at it, perhaps they can tap the DOT to add some green to the median. House vs. Home. A kinder and gentler Peter Eisenman emerged from nearly 20 years of Jungian analysis, the architect tells The Washington Post. Far from the heady world of theory ("I was a cerebral cat"), Eisenman returns to the world of bricks and mortar. The change helps him expound on the differences between a house and home. Tick Tock. The clock is ticking for the Brooklyn Bridge Park to make a decision on how to pay for maintaining the park, reports Crains. “If we don't have a financial model, we won't be able to proceed with construction,” BBP President Regina Myer tells the paper.
First the cracks, and now this? Sure, Peter Eisenman's Memorial to the Murdered Jews of Europe in Berlin has seen its fair share of controversies over the years, but it doesn't get much worse than a fashion shoot for an in-flight magazine. According to the New Statesman's scoop, easyJet had no idea the Holocaust memorial had been used as the backdrop for a bunch of models because its magazine is produced by an outside company. That company has yet to speak up about the matter, so it remains unclear whether the fine folks at INK publishing are ignorant or just stupid. Looks like Hannah Arendt is right once again. UPDATE: Ink Publishing, the company behind the offending shoot responds, and it's worse than we thought:
Ink Publishing sincerely apologises to anyone who may have been offended by the fashion shoot in the November issue of easyJet inflight, in which a model is photographed in front of Berlin's Holocaust Memorial. Far from trivializing the Memorial, on the contrary the intention was to encourage passengers to visit for themselves. The aim of each monthly shoot is to highlight an easyJet destination and tell a relevant narrative. The shoot was intended to not only promote local design talent and the city itself, but to raise awareness. From an educational perspective, it is of the utmost importance that visitors to Berlin see the Jewish Museum (who gave us written permission to shoot in their grounds) and Holocaust Memorial first hand. We absolutely regret any offence caused.We're speechless yet again.
Architectural documentaries are all the rage these days, from Louis Kahn to Frank Gehry and, most recently and sadly, Julius Shulman. Now comes another, Snakebit about Rural Studio and its inimitable founder Samuel "Sambo" Mockbee, that, like its predecessors, seems unexpectedly moving, even for architecture buffs. The Alabama-based architecture school is well known for the phenomenal, important work it does for a market rarely, or at least not often enough, visited by "serious" architects. It's affecting rhetoric and work all right, but to see the immense impact good architecture can have on the depredations of poverty on the big screen--or even on YouTube--puts Rural Studio's work into a whole other context. Mockbee died in 2001, but the filmmakers dug up archival interviews, in addition to talking to such like-minded luminaries as Cameron Sinclair and Peter Eisenman as well as current instructor and students, making it feel as though Mockbee were still alive, especially as building after building his unique approach inspired rise before the viewers' eyes. The film has not yet received wide distribution, but check out the official site as broadcast dates are expected soon enough.
We know you love the gossip. AN aims to satisfy that itch in print, online, East Coast, West Coast, whatever, wherever, whenever. So here comes Eavesdrop to our blog so you can get it faster, feistier, anywhere you are. Plus, we will be posting Sara Hart’s online-only EAVESDROP ALERTs. But the real fun begins in the comments section, where you can lay on your own gossipy tidbits. And Sara will be sure to respond. For Whom the Buell Tolls There are some whispers coming from the Temple Hoyne Buell Center for the Study of American Architecture at Columbia University’s GSAPP. Our ears immediately perked up, because we never hear anything much from that stone corner of the academic groves. Founded in 1982, the center’s first director was Robert A.M. Stern, who was followed by Gwendolyn Wright, Richard Buford, Joan Ockman (who stepped down about a year ago), and Reinhold Martin, who currently holds the post. The whispers have it that Professor Martin is changing the center’s mild mission to a more politically left-leaning agenda. Some female members of the 12-person board of advisers are also miffed that he’s held boys-only dinners, like a recent bash with board members Peter Eisenman, Stern, and GSAPP Dean Mark Wigley. Could another Penguin Club be in the making? Furniture Fanfare? So, was this year’s ICFF a bust? It depends on whom you ask. One exhibitor told Eavesdrop that traffic to his high-profile booth was off 50 percent from last year, and noted a dearth of posses from the architectural giants. Not so, said PR maven Beth Dickstein. Her math suggests that while some huge manufacturers bowed out this year, there were more smaller exhibitors, and overall the quality of the goods was better. As sales and marketing consultant to the show’s producer, George Little Management, she admits that overall attendance was down about 12 percent. But, she cites numbers from major exhibitors—including Pablo, Chilewich, and Trove—who claim to have written big orders from big firms with big projects. And Make Ours a Double Here’s a twist on surviving the recession. Gensler associate Judy Cheung brought a new client called Flex Mussels to the firm. Her reward was getting laid off. Now she’s a bartender at the Gensler-designed Upper East Side eatery that specializes in the aforementioned bivalve. Her current gig sounds more gratifying. And more tough breaks: A loss on the left coast could be an opportunity for an enterprising museum in the East. Brooke Hodge, the much-admired curator of architecture and design at the Los Angeles Museum of Contemporary Art, was laid off along with several other staffers, with senior curators taking a 5% pay cut. Another casualty of the institution’s weak finances was Hodge’s long-planned show on Morphosis, now cancelled. Eli Broad, not surprisingly, is also involved. To get his $30 million bailout, the museum has to make good on spending cuts while redirecting its focus to the permanent collection. Send frites and oyster shooters to firstname.lastname@example.org [This originally appeared in AN 10_06.03.2009 (NY)]
On May 4 at the Urban Center, Peter Eisenman and Michael Graves had a conversation, moderated by David Childs, about their favorite books to inaugurate the exhibition, Unpacking My Library. In the light of the current crisis that the print media is experiencing, listening to these legendarily erudite bibliophiles was a rare privilege. But the evening was not without controversy. Besides stories of rare books they have encountered and how architecture was taught back in the day, they engaged in a polemic discussion about current trends in architectural education, especially the risk of turning architecture schools into places that only teach computer programs and LEED rules. Both Eisenman and Graves called for a return to traditional Western education and questioned new methods that Eisenman referred as pluralist: “You can’t study the periphery if you don’t know the core,” he told AN. The discussion reminded me of my first day at architecture school, in which a bunch of us, fresh out of high school, were asked to write what we thought architecture was. Naturally, untainted by the six years of heavy theory and history we had yet to endure, we had no clue how to even begin to address the question. What is architecture? What makes it good or memorable? How can you tell good architecture versus mediocre? Eisenman reminded us that we know Palladio for his compilation of drawings and manuscripts, that Robert Venturi’s built oeuvre wouldn’t be taken as seriously if it wasn’t for Complexity and Contradiction in Architecture, or that LeCorbusier’s white houses wouldn’t be any different from others built all over France in that period if not for Vers une Architecture, and that Koolhaas started to be Koolhaas after Delirious New York. But what about Phidias, Brunelleschi, Wright, or Mies? I believe there are a great number of Masters in the Western tradition (we don’t want to risk being labeled as pluralists by Mr. Eisenman) that have earned their place by their built masterpieces and not by their written work. It is true that good books are a delight to own and a great source of inspiration, but it is altogether different to encounter a building that that makes your heart skip a beat, signaling you are in the space of a Master.