By Nadira

1. DECONSTRUCTIVISM
AN INTRODUCTION

2. • IT IS A DEVELOPMENT OF POSTMODERN
ARCHITECTURE IN THE LATE 1980s
• ITS INFLUENCED BY THE THEORY OF DECONSTRUCTION
• IT IS CHARACTERIZED BY FRAGMENTATION,
MANIPULATION OF A STRUCTURE’S SURFACE, NON-
RECTILINEAR SHAPES, UNPREDICTABILITY AND
CONTROLLED CHAOS
• DECONSTRUCTIVISM CAME TO PUBLIC NOTICE WITH THE 1982 PARC DE LA
VILLETTE ARCHITECTURAL DESIGN COMPETITION (ENTRIES FROM JACQUES
DERRIDA,EISENMAN AND BERNARD TSCHUMI), 1988 DECONSTRUCTIVIST
ARCHITECTURE EXHIBITION IN NEW YORK, AND THE 1989 OPENING OF THE
WEXNER CENTRE FOR THE ARTS DESIGNED BY PETER EISENMAN

4. PETER EISENMAN
AN AMERICAN ARCHITECT

5. • BORN ON AUGUST 11,1932
• BIRTH PLACE:NEWARK, NEW JERSEY
• ATTENDED COLUMBIA HIGH SCHOOL, NEW JERSEY
• COMPLETED B.ARCH FROM CORNELL UNIVERSITY
FOLLOWED BY M.ARCH FROM COLUMBIA
UNIVERSITY
• ALSO, ACQUIRED M.A AND Ph.D. DEGREES FROM
CAMBRIDGE UNIVERSITY

6. CAREER
•HE FIRST ROSE TO PROMINENCE AS A MEMBER OF THE NEW YORK FIVE
(A GROUP OF FIVE ARCHITECTS) : EISENMAN, CHARLES GWATHMEY, JOHN
HEJDUK, RICHARD MEIER, MICHAEL GRAVES
•THESE ARCHITECTS’ WORK AT THAT TIME WAS CONSIDERED A
REWORKING OF THE IDEAS OF LE CORBUSIER
•LATER ON EISENMAN BECAME MORE AFFILIATED TO DECONSTRUCTIVISM

7. • HE REJECTED THE FUNCTIONAL CONCEPT OF MODERNISM BY DESIGNING
STAIRWAYS THAT LED NOWHERE OR COLUMNS THAT DID NOT FUNCTION AS
SUPPORT
• HIS WORKS WERE CHARACTERIZED BY DISCONCERTING FORMS, ANGLES
AND MATERIALS
• ACCORDING TO EISENMAN, WHEN YOU CAN SENSE THE INCOMPLETENESS
OF A FINISHED STRUCTURE, IT IS A PARADOXICAL EXPERIENCE. IF THE PARTS
THAT MAKE UP A WHOLE ARE IN CONFLICT, THE SENSATION OF THE
INCOMPLETE CONTESTS THE FACT THAT THE STRUCTURE IS, IN FACT, A
FINISHED AND FULLY ENCLOSED SPACE
PHILOSOPHY

8. WORKS
•MEMORIAL TO THE MURDERED JEWS OF EUROPE, BERLIN
•GREATER COLUMBUS CONVENTION CENTRE, COLUMBUS, OHIO
•WEXNER CENTRE OF THE ARTS, COLUMBUS, OHIO
•HOUSE VI (FRANK RESIDENCE), CONNECTICUT
•CITY OF CULTURE OF GALICIA, SPAIN

9. CITY OF CULTURE OF

10. • A COMPLEX OF CULTURAL BUILDINGS IN SANTIAGO, GALICIA, SPAIN
• IT WAS DESIGNED BY A GROUP OF ARCHITECTS LED BY PETER EISENMAN
• CONSTRUCTION WAS EXPENSIVE AND CHALLENGING AS THE DESIGN OF THE
BUILDINGS INVOLVES HIGH DEGREE CONTOURS, MEANT TO MAKE THE
BUILDINGS LOOK LIKE ROLLING HILLS
• NEARLY EVERY WINDOW HAD ITS OWN CUSTOM SHAPE
• IT INCLUDES A LIBRARY, THE ARCHIVE OF GALICIA, A MUSEUM AND CENTRAL
SERVICES BUILDING
MUSEUM OF GALICIA

11. MEMORIALTO THE MURDERED

12. • IT IS ALSO KNOWN AS HOLOCAUST MEMORIAL
• IT IS A MEMORIAL IN BERLIN TO THE JEWISH VICTIMS OF THE
HOLOCAUST, DESIGNED BY EISENMAN AND ENGINEER BURO HAPPOLD
• IT CONSISTS OF 4.2 ACRE SITE COVERED
WITH 2,711 CONCRETE SLABS/STELAE
ARRANGED IN A GRID PATTERN ON A
SLOPING FIELD
• IT TOOK 1 YEAR FOR ITS COMPLETION
• IT WAS DESIGNED TO PRODUCE AN
UNEASY AND CONFUSING ATMOSPHERE

13. WEXNER CENTRE FOR

14. • IT IS THE OHIO STATE UNIVERSITY’S MULTIDISCIPLINARY, INTERNATIONAL
LAB FOR THE EXPLORATION AND ADVANCEMENT OF CONTEMPORARY
ART
• AREA: 108 SQ. FT
• THREE-STORY BUILDING
• PETER EISENMAN WON THE DESIGN COMPETITION OVER FOUR OTHER
EXPERIENCED FINALISTS IN 1983
• INCLUDES A LARGE WHITE METAL GRID MEANT TO SUGGEST
SCAFFOLDING TO GIVE THE BUILDING A SENSE OF INCOMPLETENESS
• IT HOUSES A FILM AND VIDEO THEATER, PERFOMANCE SPACE, A FILM
AND VIDEO POST PRODUCTION STUDIO, A BOOKSTORE, CAFÉ AND 12,000
SQ. FT OF GALLERIES

16. HOUSE

17. • STYLE: DECONSTRUCTIVIST
• IT IS ALSO KNOWN AS FRANK RESIDENCE
• CONSTRUCTION PERIOD: 1972-1975
• PLACE: UNITED STATES
• THE BUILDING IS MEANT TO BE “A
RECORD OF DESIGN PROCESS”
• TO START EISENMAN CREATED A FORM
FROM THE INTERSECTION OF FOUR
PLANES SUBSEQUENTLY MANIPULATING
THE STRUTURES AGAIN AND AGAIN
• BUT DUE TO EISENMAN’S LACK OF
EXPERIENCE AT THE TIME RESULTED IN A
POORLY DETAILED BUILDING

18. THANK YOU