Eisenman Architects: The Latest Architecture and News

A global city and cosmopolitan hub, Milan is mainly recognized today as a fashion and economic center, widely coveted by visitors from around the world. It is the second most populated city in Italy and hosts some of the major fashion and design-related events in the world. Milan also houses prestigious educational institutions, many of which are renowned for heritage and conservationist specialties.

The latter is quite relevant, seeing as the city's most recognizable tourist attractions are the gothic Duomo di Milano, Santa Maria delle Grazia, or the Galleria Vittorio Emanuele II, amongst other classical and baroque sites. On the other hand, the city also has some of the boldest and most experimental modern and contemporary buildings that highlight the marriage of the beautifully crafted and often ornamental heritage with the modern, post-modernist, and contemporary monuments that make up Milan's unique style.

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Whether built, written or drawn, the work of American architect, theorist and educator Peter Eisenman (born 11th August 1932) is characterized by Deconstructivism, with an interest in signs, symbols and the processes of making meaning always at the foreground.

In this article, which originally appeared on Architectural Review, Iman Ansari interviews Peter Eisenman about his personal views on architecture throughout the course of his career.

Iman Ansari: More than any other contemporary architect, you have sought a space for architecture outside the traditional and conventional realm. You have continually argued that modern architecture was never fully modern and it failed to produce a cognitive reflection about the nature of architecture in a fundamental way.  From your early houses, we see a search for a system of architectural meaning and an attempt to establish a linguistic model for architecture: The idea that buildings are not simply physical objects, but artifacts with meaning, or signs dispersed across some larger social text. But these houses were also part of a larger project that was about the nature of drawing and representation in architecture. You described them as “cardboard architecture” which neglects the architectural material, scale, function, site, and all semantics associations in favor of architecture as “syntax”: conception of form as an index, a signal or a notation. So to me, it seems like between the object and the idea of the object, your approach favors the latter. The physical house is merely a medium through which the conception of the virtual or conceptual house becomes possible. In that sense, the real building exists only in your drawings.

Peter Eisenman: The “real architecture” only exists in the drawings. The “real building” exists outside the drawings. The difference here is that “architecture” and “building” are not the same.

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