Peter Eisenman, Architect jew, a man who has always gone against the trend of the modern icons of architecture, An architect who has lived project work as the result of tissue physical, cultural and historical heritage of each place that went to form what he calls the "Layer".
about him there would be many things to say starting from studies conducted in academic and professional career. Starting from the ideological representation of the architecture of religions in all forms, image, relationship between the elements takes on a sacred character, as dictated by the shape characteristics that announce to compose in a certain way.
"Bringing together the different elements, then go to different parts of buildings, and from these to all: this is the path that must follow when you want to learn to compose, on the contrary, when you dial, you must begin from the collection, continue with the parties and ending with the details. "
studies of Greek temples are the praise of classical , the attempt to bring man to God with the representation of architectural forms and elements that made up together, establish a relationship of harmony that became untouchable.
"There is a new awareness created by the fractures in 1945 [...] it has emerged from something that modernism has not glimpsed: the fact that none of the previous generations had never been able to address the problem of potential extinction of civilization before today, when this was made possible by the advent of science, technology and modern medicine. This hypothesis
end within the horizons of this condition has shattered the classic triad of time - past, present and future - and with it his 'continuity' and its 'development'. Before this was seen as a moment between past and future. Now this report contains two poles without: a memory of this earlier time, progressive, and immanence, the presence of the end - the end of the future - a new quality of time. "
FORMAL READING
Dante, in his letter to Can Grande says that a letter should be read in two different ways, each with two different meanings: one is the literal meaning that encompasses the obvious sense of a sentence, the second is the allegorical meaning, namely that the mechanism for which, reading a sentence, it is understood another.
Eisenman, in his book "Giuseppe Terragni: transformations, decompositions, critiques" is an opportunity to be able to give an explanation of how he intends the project by analyzing the work of an Italian architect, Terragni and, in many respects and studies, the study traces architecture by reading it in different ways and different layers, this book focuses more on reading a brief and formal and not fully analyze the aspect "allegorical." Law Terragni's work in a logical, not chronological, analyzing the work as if everything was attributable to an aspect of text explaining that every work of architecture can be transformed into a textual criticism to which it can bring its own contribution. In his book explains that there are also buildings are so "open" a text that reads "... replace the canonical interpretations with the use of a speech first formal, defined within the parameters of a historical period .. certain buildings or release the relationship between implicit and stable conventions iconic, historic, aesthetic and functional ".. and Home of the beam is one of these buildings.
Reading a building then becomes much more complex than it may seem: it assumes a theoretical aspect which is developed by the designer, a critical form based upon the time and a critical aspect of the work based upon the formal canon of ' work that will provide a critical synthesis of form which will have a key to understanding more generally.
1.The 'theoretical project developed by the project include the formal historical analysis of the building such that they create the conditions for uniqueness and functional impairment that put the image architecture in a representative icon stable. Just look at works such as the Monument to victims of the Holocaust made in 2005 in Berlin, when asked the significance of this work Eisenman he replies: "Mine does not want to be a place of memory, does not want to remember the victims, does not want denounce any kind of horror because horror is unrepresentable, each description is still inadequate. " It 's why he created the place is not an ideal jew or catholic founded, but the task of making the person feel in a state of alienation in the work, as if it were in a place that you want to propose the same feeling of terror and fear of deportation.
2.L 'critical formal and is based on temporal conditions of the work is a mechanism that raises and comes at a time when the work itself is analyzed and designed considering and comparing the formal architecture, which must be understood as a strategic process that takes non-narrative chronologically typical cultural characteristics, transformations and decompositions of formal architectural models of the era. The intertwining of these studies means that the project can be a model to be subjected to an analysis of decomposition and reading logic that can be taken to place the architecture in a culture, political situation or some debate.
3.The 'critical formally bound to the canonical work leads instead to a study linked more to a logical analysis and historical architecture, plans, strategies, forms and cultures that interfere in key reading critical. A study of formal transformation that becomes critical in the sense that the traces of the design process is seen as a disruption of the traditional formal and functional interpretation of these processes.
THE 'TRUTH'
Aristotle "as a matter arises in relation to being, as arises in relation to the truth." How
architecture asks to be represented through its classic character, form, so that confronts the truth about herself.
The truth that architecture is the assimilation between the theoretical truth of itself and its representation lies in the perfect likeness of a work with its deeper meaning.
Take for example the Monument to victims of the Holocaust Eisenman: the truth of what his work is represented in a more logical and conceptually deep. E 'managed to bring together the ideal of the massacre and in the formal codification of the same diagrammatic without using a coding which the ideal of formal perfection would fall in the ideal of geometric perfection ("The term Holocaust is primarily used to denote the systematic extermination of millions of Jews")
PS
"Hence the paradox of modern composition: the 'abandonment of the figure - the foundation of classical composition - implies its necessary re-affirmation, the fragment, to deny it, must continue to speak of the figure. This postulate, which holds until the contradiction that implies is explicitly accepted in a state of media fragmentation, collapse and self-denial when it is taken to the extreme. If starting
a white square defined only by its boundary - the figure - we begin to divide it with black lines in smaller areas - in fragments - and continue, adding line upon line, to break it into parts progressively smaller, eventually to black around the square, would end that is to get closer and closer to the re-affirmation of the outline until you return to the initial shape. Something similar seems to happen in those cases in which modern culture seeks to capture, placing them on a theoretical plane, the extreme fragmentation of the .. "
" Eisenman 1960-1990. Conceptual architecture architecture textual " - F. Ghersi
Giuseppe Terragni: transformations, decompositions, critiques - P. Eisenman
The Formal Basis of Modern Architecture - P. Eisenman
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http://www.emis.de/
