PETER EISENMAN

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
01
 CPAD
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

TŚĞ tĞdžŶĞƌ ĞŶƚĞƌΖƐ ϭϬϴ͕ϬϬϬ ƐƋƵĂƌĞ ĨĞĞƚ ;ϭϬ͕ϬϬϬ ŵϮͿ͕ ƚŚƌĞĞͲƐƚŽƌLJ

ďƵŝůĚŝŶŐǁĂƐĚĞƐŝŐŶĞĚďLJĂƌĐŚŝƚĞĐƚƐ͘/ƚǁĂƐƚŚĞĮƌƐƚŵĂũŽƌƉƵďůŝĐďƵŝůĚ-
ŝŶŐƚŽďĞĚĞƐŝŐŶĞĚďLJŝƐĞŶŵĂŶ͕ƉƌĞǀŝŽƵƐůLJŬŶŽǁŶƉƌŝŵĂƌŝůLJĂƐĂƚĞĂĐŚĞƌ
ĂŶĚ ƚŚĞŽƌŝƐƚ͘ ,Ğ ŚĂƐ ŐŽŶĞ ŽŶ ƚŽ ĚĞƐŝŐŶ ĂŶĚ ďƵŝůĚ Ă ŶƵŵďĞƌ ŽĨ ŽƚŚĞƌ
ŵĂũŽƌƉƌŽũĞĐƚƐŝŶĐůƵĚŝŶŐƚŚĞ'ƌĞĂƚĞƌŽůƵŵďƵƐŽŶǀĞŶƟŽŶĞŶƚĞƌ͘
dŚĞĚĞƐŝŐŶŝŶĐůƵĚĞƐĂůĂƌŐĞ͕ǁŚŝƚĞŵĞƚĂůŐƌŝĚŵĞĂŶƚƚŽƐƵŐŐĞƐƚƐĐĂīŽůĚ-
ŝŶŐ͕ ƚŽ ŐŝǀĞ ƚŚĞ ďƵŝůĚŝŶŐ Ă ƐĞŶƐĞ ŽĨ ŝŶĐŽŵƉůĞƚĞŶĞƐƐ ŝŶ ƚƵŶĞ ǁŝƚŚ ƚŚĞ
ĂƌĐŚŝƚĞĐƚΖƐĚĞĐŽŶƐƚƌƵĐƟǀŝƐƚƚĂƐƚĞƐ͘ŝƐĞŶŵĂŶĂůƐŽƚŽŽŬŶŽƚĞŽĨƚŚĞŵŝƐ-
ŵĂƚĐŚĞĚ ƐƚƌĞĞƚ ŐƌŝĚƐ ŽĨ ƚŚĞ K^h ĐĂŵƉƵƐ ĂŶĚ ƚŚĞ ĐŝƚLJ ŽĨ ŽůƵŵďƵƐ͕
ǁŚŝĐŚǀĂƌLJďLJϭϮ͘ϮϱĚĞŐƌĞĞƐ͕ĂŶĚĚĞƐŝŐŶĞĚƚŚĞtĞdžŶĞƌĞŶƚĞƌƚŽĂůƚĞƌ-
ŶĂƚĞ ǁŚŝĐŚ ŐƌŝĚƐ ŝƚ ĨŽůůŽǁĞĚ͘ dŚĞ ƌĞƐƵůƚ ǁĂƐ Ă ďƵŝůĚŝŶŐ ŽĨ ƐŽŵĞƟŵĞƐ
ƋƵĞƐƟŽŶĂďůĞ ĨƵŶĐƟŽŶĂůŝƚLJ͕ ďƵƚ ĂĚŵŝƩĞĚ ĂƌĐŚŝƚĞĐƚƵƌĂů ŝŶƚĞƌĞƐƚ͘ dŚĞ
center’s brick turrets make reference to the medieval-like armory build-
ŝŶŐƚŚĂƚŽĐĐƵƉŝĞĚƚŚĞƐŝƚĞƵŶƟůƚŚĞϭϵϱϴ͘

/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
05
 CPAD
SPATIAL ANALYSIS

͞dŚĞtĞdžŶĞƌĞŶƚĞƌŐŝǀĞƐLJŽƵĂĐŽŶƐƚĂŶƚůLJŇƵĐƚƵĂƟŶŐƐƉĂĐĞ͘͟
͞dŚĞƌĞŝƐŶŽƐƚĂƟĐƐƉĂĐĞ͕ŶŽƌĞƉŽƐĞ͘͟

Gallery space arranged at

ĚŝīĞƌĞŶƚƚŽƉƌŽǀŝĚĞĚLJĂŶĂŵŝĐ
space

Landscaped court
Older Arsenal Grid - Form Study

Entry
Campus & City Grid

PETER EISENMAN
^ƚƌƵĐƚƵƌĂůŐƌŝĚĂƐƵŶŝƋƵĞĞůĞŵĞŶƚ

Informal amphitheatre Ϭϰ
06

PETER EISENMAN CPAD

 CPAD
OUTLINE
BASED ON STRUCTURE AND MATERIAL USED
The steel structure was covered with a skin of red face brick masonry evoking the old building. The exterior includes
a large white ŵĞƚĂů;^ƚĞĞůͿŐƌŝĚƚŚĂƚƐƵŐŐĞƐƚƐƐŽŵĞŬŝŶĚŽĨĂƌŵŽƌ͕ǁŚŝĐŚŐŝǀĞƐƚŚĞďƵŝůĚŝŶŐĂƐĞŶƐĞŽĨŝŶĐŽŵƉůĞƚĞŶĞƐƐ͘
ƚƚŚĞĨƌŽŶƚĂŶĚĂƚƚŚĞĞŶƚƌĂŶĐĞ͕ŝƐĞŶŵĂŶƌĞďƵŝůƚĂƚŽǁĞƌŽĨĂŶŽůĚĂƌƐĞŶĂů͕ƚŚĞŶĐƵƚŝƚĂŶĚŐŝǀĞĂŶŝŵĂŐĞŽĨĚŝƐŽƌŐĂŶ-
ŝnjĂƟŽŶ͘dŚĞŝŶƚĞƌŝŽƌƐĂƌĞƉĂŝŶƚĞĚǁŚŝƚĞŇŽŽƌƐŝŶůŝŐŚƚǁŽŽĚ

dŚĞĨŽƵŶĚĂƟŽŶƐŽĨƚŚĞĂƌŵŽƌLJǁĞƌĞ͞ĚƵŐ͟ĂƐĂŶĞůĞŵĞŶƚŽĨƚŚĞƉĂƚŚŽŶƚŚĞǁĞƐƚƐŝĚĞŽĨƚŚĞƐŝƚĞ͘ŵŽŶŐƚŚĞĨŽƌŵƐ
ŽĨƚŚĞďƵŝůĚŝŶŐ͕ǁŝƚŚƐŽůŝĚŵĂƐƐĞƐŽĨďƌŝĐŬƐ͕ƚŚĞĞdžĐĂǀĂƚĞĚƐƉĂĐĞŝƐĐůŽƐĞĚǁŝƚŚĂƟŶƚĞĚŐůĂƐƐĐƵƌƚĂŝŶǁĂůůǁŝƚŚĂŶ
ĂůƵŵŝŶƵŵŵƵůůŝŽŶĂůůŽǁŝŶŐƉĂƐƐĂŐĞŽĨůƵLJĂŶĚĞǀŽŬĞƐƚŚĞƵƐĞŽĨƚŚĞŐƌŝĚ͕ƌĞĐƵƌƌĞŶƚŝŶƚŚĞǁŽƌŬƐƌĐŚŝƚĞĐƚ͘dŚĞĐŽŶ-
trast created by the ĂŶŽĚŝnjĞĚĂůƵŵŝŶƵŵŵƵůůŝŽŶƐŝŶƚĞŶƐŝĮĞƐƚŚĞĚĞƉƚŚimpenetrable glass.

BASED ON COLOR USED

ŝƐĞŶŵĂŶǁĂŶƚĞĚƚŽůĞĂǀĞƚŚĞƉůĂĐĞ͛ƐŚŝƐƚŽƌLJƌĞŇĞĐƚĞĚŝŶƚĞŐƌĂƟŶŐůĂƌŐĞďƌŝĐŬƐƚƌƵĐƚƵƌĞƐ͕ŝŶƐƉŝƌĞĚďLJƚŚĞŽůĚĂƌŵŽƌLJďƵŝůĚŝŶŐďƵƌŶĞĚ
in the late nineteenth century and were completely demolished in 1959.
BASED ON CONTEXT
dŚĞĚĞƐŝŐŶŝŶĐůƵĚĞƐĂůĂƌŐĞǁŚŝƚĞŵĞƚĂůŐƌŝĚƐƵŐŐĞƐƟŶŐƐĐĂīŽůĚŝŶŐĂŶĚŐŝǀĞƐƚŚĞďƵŝůĚŝŶŐĂƐĞŶƐĞŽĨƵŶĮŶŝƐŚĞĚ͕ŝŶƚƵŶĞǁŝƚŚƚŚĞ
ƚĂƐƚĞƐŽĨƚŚĞĚĞĐŽŶƐƚƌƵĐƟǀŝƐƚĂƌĐŚŝƚĞĐƚƐ͘ŝƐĞŶŵĂŶƚŽŽŬŝŶƚŽĂĐĐŽƵŶƚƚŚĞŵŝƐŵĂƚĐŚŽĨƐƚƌĞĞƚŐƌŝĚƐ͕ŽŶƚŚĞK^hĐĂŵƉƵƐĂŶĚŝŶƚŚĞĐŝƚLJ
ŽĨŽůƵŵďƵƐ͕ǁŚŝĐŚǀĂƌLJϭϮ͘ϮϱǑĂŶĚĚĞƐŝŐŶĞĚƚŚĞtĞdžŶĞƌĞŶƚĞƌĂŶĚĐŽŶƟŶƵŝƚLJ͘dŚĞƌĞƐƵůƚǁĂƐĂďƵŝůĚŝŶŐǁŚŽƐĞĨƵŶĐƟŽŶĂůŝƚLJǁĂƐ
ĐƵĞŶƐƟŽŶĂĚĂƐŽŵĞƟŵĞƐ͕ďƵƚƐƵƌĞůLJǁĂŬĞĂƌĐŚŝƚĞĐƚƵƌĂůŝŶƚĞƌĞƐƚ͘

BASED ON THE UNIQUE ELEMENT

ŵŽƐƚŽďǀŝŽƵƐĞdžƚĞƌŶĂůĚĞƐŝŐŶŵŽƟĨͲĂĐƵďŝĐŐƌŝĚͲƐƉŝŶĞŽĨƐƚĞĞůĂŶĚŐůĂƐƐƚŚĂƚƉĂƌƟĂůůLJĞŶǀĞůŽƉĞƐ͕ƉĞŶĞƚƌĂƚĞƐƚŚĞďƵŝůĚŝŶŐƐƐƉĂĐĞƐĂŶĚ
ƌƵŶƐƚŚĞůĞŶŐƚŚŽĨƚŚĞtĞdžŶĞƌĞŶƚĞƌ͘dŚĞƉŽĞƟĐƐŽĨƚŚĞĐŽŶƐƚƌƵĐƟŽŶĂŶĚĂƉƉůŝĐĂƟŽŶŽĨƚŚĞƐĞŵĂƚĞƌŝĂůƐĐĂůůƐĂƩĞŶƟŽŶƚŽƚŚĞĐŽŶƚĞŶƚƐ
ŽĨƚŚĞďƵŝůĚŝŶŐĂƐĂŶĞǀĞƌͲĐŚĂŶŐŝŶŐƉƌŽŐƌĂŵŽƌƉƌŽĐĞƐƐƌĂƚŚĞƌƚŚĂŶĂƐƚĂƟĐĂƌĐŚŝǀĞ͘ůƐŽ͕ƚŚĞůŝƚĞƌĂůƚƌĂŶƐƉĂƌĞŶĐLJŽĨƚŚŝƐƐƉŝŶĞĂƩĞŵƉƚƐ
ƚŽĂƩƌĂĐƚƚŚĞĞŶƟƌĞƉƵďůŝĐ͕ƌĂƚŚĞƌƚŚĂŶũƵƐƚƚŚŽƐĞŝŶƐŝĚĞ͕ŵĂŬŝŶŐƚŚĞďƵŝůĚŝŶŐΖƐƉƌŝŵĂƌLJĚĞƐŝŐŶĐŽŶĐĞƉƚĂŶĞǀŽĐĂƟǀĞƐLJŵďŽůŽĨƚŚĞ
ƟŵĞƐ͘Η

dŚƵƐ͕ĂƐŝƐĞŶŵĂŶŝƐŶŽƚĐĂƌĞĨƵůůLJƌĞǀĞĂůŝŶŐŚŝƐŐƌŝĚǁŝƚŚŝŶƚŚĞƐƚƌƵĐƚƵƌĞ͕ĂĐŽŶĐůƵƐŝŽŶŵŝŐŚƚďĞƚŚĂƚŚĞŝƐƉƌŽŵŝŶĞŶƚůLJĚŝƐƉůĂLJŝŶŐŝƚ͕ĂƐ
ŝĨƚŚĞďƵŝůĚŝŶŐĂŶĚƚŚĞƐŝƚĞĂƌĞĨƵŶĐƟŽŶŝŶŐĂƐĂďĂƐĞĨŽƌĂƌĐŚŝƚĞĐƚƵƌĞĂƐƐĐƵůƉƚƵƌĞ͘

BASED ON THE VISUAL CONTEXT

dŚĞďƵŝůĚŝŶŐŝƐĂƚŚƌĞƐŚŽůĚ͘EĞĂƌƚŚĞĞĚŐĞŽĨĐĂŵƉƵƐĂŶĚĐŝƚLJ͕ƚŚĞďƵŝůĚŝŶŐďŝĚƐǁĞůĐŽŵĞĂŶĚĨĂƌĞǁĞůůƐŝŵƵůƚĂŶĞŽƵƐůLJ͘
dŚĞLJĂƌĞĂůůƵƐŝŽŶƐƚŽĂŵĞĚŝĞǀĂůͲƐƚLJůĞĂƌŵŽƌLJƚŚĂƚǁĂƐďƵůůĚŽnjĞĚƚŽŵĂŬĞƌŽŽŵĨŽƌƚŚĞŵƵƐĞƵŵ͕ĂŶĞĞƌŝĞƚƌŝďƵƚĞƚŽ

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