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.
