Publicacion "Tras el rastro personal del padrino de la arquitectura", Pablo Lorenzo-Eiroa (Peter Eisenman y su trabajo)

12 Arquitectos Contemporaneos: Koolhaas Eisenman HdM Hadid Moneo Siza Nouvel Miralles Gehry Holl Foster Piano, por Mariano Gomez Luque, Aristedes Gomez Luque, German Godoy, Universidad de Palermo, Novuko, Buenos Aires 2011

12 no es un número cualquiera, es el número de fragmentos con los que se puede comenzar a armar el retrato fracturado, fragmentado del arquitecto contemporáneo, una labor que es siempre continua y no reconoce estados de quietud, y que por el contrario exige la agilidad del trato con agentes móviles en constante evolución. La selección de las figuras a estudiar comienza en Peter Eisenman y culmina en Rem Koolhaas, polarizando la tensión latente en la discusión actual sobre la autonomía de la disciplina o el realismo de los fenómenos urbanos, y sitúa en medio a un grupo de arquitectos cuyas posiciones divergentes definen gran parte de los tópicos ineludibles de la arquitectura contemporánea, desde el problema de la organización material a la manipulación formal, desde el problema del contexto a la sociedad del espectáculo, desde la retórica tecnológica hasta la densidad conceptual, la primacía del proceso o el discurso de lo inacabado. El resultado es un cuadro heterogéneo y colorido, complejo y esquivo a la figuratividad de la interpretación clásica. Un retrato fragmentado.

 

Associate Professor Adjunct Pablo Lorenzo-Eiroa recently published an introductory essay on architect and educator Peter Eisenman in the book 12 arquitectos contemporaneos released in Argentina.  The book develops analytical texts and diagrams on the work of 12 contemporary architects including: Norman Forster, Frank Gehry, Zaha Hadid, Herzog and de Meuron, Steven Holl,  Peter Eisenman, Rem Koolhaas, Enric Miralles, Rafael Moneo, Jean Nouvel, and Alvaro Siza.

In this essay, professor Lorenzo-Eiroa describes the relationship between Eisenman's architecture, his theoretical work and the experience of working next to him. He further describes Eisenman as a defining figure in the field of architecture. Eisenman's role in the discipline becomes self referential to his personality, his history and the cultural institutions he crossed within other questions - a work that becomes a map which increases as it is being constructed, as it happens with his books. 

The essay refers to Cooper Union professor Guido Zuliani's recent critique of the apparently natural influence of Rowe in Eisenman displacing it to the work of Wittkower.  However, Lorenzo-Eiroa  responds to this argument through a lesser known aspect of Panofsky's work offering an alternative reading of Rowe's reference to mathematics in Palladio.  He also offers other hints to a apparently common search of formal syntaxis in Hejduk houses and the posterior series by Eisenman differentiating the two opposite strategies in relation to function and their reading of the work of Terragni and Le Corbusier. Lorenzo-Eiroa concludes this re-tracing with Cynthia Davidson's reference to Eisenman's  return to his subconscious, as the work progressively encounters conflicting relationships with the ground initiating the contemporary process of expansion in the discipline.