COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0000525
image_record_id
aahi0000525
Image Record ID
false
Work Title (display):
IBA Social Housing
Work Title notes (display):
Work Title (variant):
Checkpoint Charlie Haus
Image Title:
View W on Koch Strasse
Work Dates (display):
1981-1985
Work Dates type:
creation
Work Creator (display):
Jaquelin Taylor Robertson (American, born 1933)
Work Creator gender:
female
work_creator_or_agent_gender
female
Work Creator gender
false
Work Creator notes (display):
Robertson left Eisenman/Robertson Architects to join Alexander Cooper + Partners, New York, in 1988.
Work Creator (display):
Peter D. Eisenman (American, born 1932)
Work Creator gender:
male
work_creator_or_agent_gender
male
Work Creator gender
false
Work Creator notes (display):
(b Newark, NJ, 12 Aug 1932). American architect, theorist, writer and teacher. He graduated from Cornell University, Ithaca, NY (BArch 1955), and worked for Percival Goodman in New York (19578) and the Architects' Collaborative in Cambridge, MA (1959). He then went to Columbia University, New York (March 1960), and the University of Cambridge, England, where he completed his PhD in the theory of design (1963) and also taught (196063). Back in the USA, he was involved in several unexecuted competition entries and projects (19635) with Michael Graves and began to teach (19637) at Princeton University, NJ, moving to Cooper Union, New York, in 1967. In that year he became the founding director of the Institute for Architecture and Urban Studies, New York, which became a major centre for exhibition and debate in the architectural profession; he also established and edited its influential journal Oppositions (197382), to which he contributed many writings. Eisenman's principal role as an architect was mainly that of theorist and agent provocateur and his built works total only a fraction of those produced by such contemporaries as Michael Graves. Although a popular lecturer, he did not court popularity with his buildings, which are linked with the modernist but post-Functionalist avant-garde. He was interested in Italian Rationalist architecture of the 1930s and participated in the New york five exhibition (1969) at MOMA, New York, with some early neo-Rationalist work, the first of a series of numbered houses that began with House I, the Barenholtz House (19678), Princeton, House II, the Falk House (196970), Hardwick, VT, and House III, the Miller House (196970), Lakeville, CT. These were complex, rectilinear geometric compositions; numbered as if they were abstract works of art, they expressed his investigation into the nature and meaning of architectural form. Rejecting functionalism, which he saw as a continuation of the humanist tradition, he increasingly attempted to express a truly 'modernist sensibility' in which buildings were seen and experienced as autonomous and self-referential, independent of human context or function. Thus House VI, the Frank House (1972; see fig.), Cornwall, CT, for example, has a door too narrow to be entered without turning sideways and a staircase that cannot be climbed. A recurrent feature of Eisenman's work was the archetypal modernist element, the grid, but twisted, rotated and overlaid to create displacements and new possibilities of form. This is evident in the IBA low-cost housing (1981; partly executed), Berlin, whose undeclared grids appear in colour on the surface without explanation of their meaning, and in the Wexner Center for the Visual Arts (19839), Ohio State University, Columbus, which may best be described as a non-building. Here Eisenman overlaid the campus grid with the offset grid of the city, locating his scheme where they intersected and creating a new path into the campus on an eastwest axis. Forming the northsouth axis is a long circulation spine, a diagrammatic, quasi-Miesian galleria, partly glazed and partly enclosed in 'scaffolding' or open, gridded frames whose components do not quite meet; galleries contain the deconstructed elements of the modernist cube projecting from walls, floor and ceiling; stairs lead nowhere and columns are cut off in mid-air. The crossing of the two axes is thus an 'event': a circulation route at a critical junction of the campus that is also a centre for the visual arts, whose 'scaffolding' negates the traditional image of shelter. Built partly below ground level, it also embodies the symbolism of excavation used in other, unexecuted projects, for example housing on the Cannaregio (1978), Venice, and Parc de la Villette (1988; with Jacques Derrida), Paris. Eisenman's compositional techniques, unlike those of Michael Graves, were not figurative or pictorial, although they may have had a narrative or 'rhetorical' basis. His exploration of formal syntax centred on the development of a modernist 'dialectic' involving fragmentation and the reordering of fragments into a new whole, perhaps revealing suggestions of originals within some new assembly. In this way, for example, the demolished Armory at Ohio State University is recalled in an assembly of fragments of the original tower placed at the entrance to the Wexner Center. Thus Eisenman, within the broad spectrum of Post-modernism, sought to simulate both the known and the unknown. In 1987 he declined the Deanship of the Columbia University Graduate School of Architecture in order to devote himself to the realization of his theoretical ideas, which were expressed in increasingly convoluted and arcane texts. His work was widely exhibited in the USA and Europe. (Grove Art Online accessed 2007-10-17_)
Work Style Period:
Deconstructivist
work_styleperiod
Deconstructivist
Work Style Period
false
Work Style Period:
Contemporary
work_styleperiod
Contemporary
Work Style Period
false
Work Subject:
public housing
subject
public housing
Work Subject
false
Work Subject:
apartment houses
subject
apartment houses
Work Subject
false
Work Worktype:
apartment houses
work_type
apartment houses
Work Worktype
false
Work Worktype:
architecture (object genre)
work_type
architecture (object genre)
Work Worktype
false
Work Category (VRC classification):
architecture
work_category__ucbaahvrc_classification_
architecture
Work Category (VRC classification)
false
Work Location (Geographic) name:
Berlin, Germany
Image Rights (display):
© Ronald Wiedenhoeft. Licensed for educational use via Scholars Resource: Saskia, Ltd.
Image Rights license agreement:
SASKIA, LTD.: WHO CAN USE THIS SOFTWARE: (a) Licensee, including faculty, staff and currently enrolled students may use the Licensed Software to display and or print the corresponding graphic images without limitation for teaching and research purposes at the defined Sites, or at remote locations having electronic access to your Site(s). (b) This license include permission to use the Licensed Software on a multi-user network at the defined Site, and to permit remote access to a computer/server located at your Site. Simultaneous display in multiple locations at or connected to the Site is also permitted. (c) Licensee agrees to employ reasonable security measures designed to limit access to your faculty, staff and currently enrolled students. PROHIBITED USES AND LIMITATIONS: (a) Saskia hereby reserves all rights not expressly granted herein. (b) the License Software may not be used for preparaiton of any publication, scholarly or otherwise; or for any purpose other than teaching or research. Publication of an image from the Licensed Software requires a separate license from Saskia. (c) Licensee agrees not to resell, lease, transfer, sub-license or otherwise distribute a copy of the Licensed Software, or any image taken from the Licensed Software, in whole or in part. (d) Licensee also agrees not to modify, corrupt or alter any digital image graphic content or "digital watermark" or the like in the software provided by Saskia under this Agreement. (e) Licensee agrees not to remove, alter, cover or distort Saskia's copyright notice, trademark, or other proprietary rights notice placed by Saskia in the Licensed Software itself, or in the associated packaging, media or documentation. (f) And Licensee agrees to notify users of the Licensed Software, in writing or by sign-on screen display, of their obligations under this Agreement and solicit their cooperation and compliance with such obligations.
Work Rights (display):
© Eisenman Architects
Terms of Agreement and Conditions of Use:
YOU AGREE: Luna Imaging's Insight Software and the digital image collection associated with it (the Software) are being provided by the University of Colorado under the following license. By obtaining, using, and/or copying this work, you (the Licensee) agree that you have read, understood, and will comply with the following terms and conditions. 1. The Software contains the University of Colorado's Department of Art and Art History's implementation of a digital image collection; 2. Any images obtained through use of the Software will be used only for non-profit, educational purposes; 3. The use of images obtained through the software will only be used while the Licensee is either: a) an employee of the University of Colorado, Metropolitan State College of Denver, or the Community College of Denver, or b) an enrolled student at the University of Colorado, Metropolitan State College of Denver, or the Community College of Denver; 4. When the Licensee is no longer an employee or student of the University of Colorado, Metropolitan State College of Denver or Community College of Denver, either by an action of the University of Colorado, Metropolitan State College of Denver or the Community College of Denver or due to actions of the Licensee, the licensee will cease to use any images exported from the Department of Art and Art History's digital image collection; 5. The Licensee agrees to indemnify the University for claims and liability arising out of the use of the Software or for any violations of this license; 6. THE UNIVERSITY OF COLORADO SUPPLIES THE SOFTWARE WITHOUT ANY WARRANTIES, EXPRESS OR IMPLIED, INCLUDING ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.
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Holding Institution:
University of Colorado at Boulder
Collection:
Art and Art History Visual Resources Center
Collection info and contact:
For information about this collection, see