Peter Eisenman in the 20th century certainly did change the way we think about how to draw geometrical. He showed imaginative spaces which once upon a time did not exist, for example his House V, shows undoubtedly how much fun you can genuinely have during the process of design (through his drawings) and the final outcome. The form and shapes that are created from his big unsupported beams are incredible, you would not think as an architect you could ever have such a heavy beam just hanging in mid-air or coming out from the structure itself, it’s more of an illusion aspect to, which is remarkably genius. The one intelligent idea behind why these beams seem as if they are in mid-air or coming out from the structure is because of the space around it, light perceived but most influential the colour white. It is such a bright colour it help's the human eye see it as an illusion, it’s a precise and accurate acquisition of scale too.
The absence of presence or void, Cynthia Davidson, ‘Attempt to understand Eisenman one must go back to go forward, must trace absence to find presence’ what Davidson is trying to clarify here about Eisenman’s way of working is that you need ‘to find the presence of something thought to be absent’, you can see this without a doubt in Eisenman’s work. However he didn't really start showing this absence of presence and void up until the ‘psychoanalysis in 1976 did his buildings start to come to life’. From this date you see this change completely; this is when Eisenman adapts this geometrical style throughout his work. Furthermore critics where talking about how he used ‘non load bearing walls, frames, columns that architecturally opened and carved out spaces’.
You can tell that Eisenman was affected by the media, he quotes powerfully, ‘we live in a future-less present in which buildings have lost their meaning’, this quote proves that he really fears for the way architecture is going and he believes that buildings today have lost their significant meaning, in a way to be deemed as a disaster or in another way there needs to be someone out there to inject life and meaning into architecture, and I believe Eisenman most definitely did this.
Eisenman started to use another great technique within the architecture language of structure, ‘ L shapes produce the voids for the House II which are active, it can change at how we look at a building’, it’s the voids that you first notice on the majority of Eisenman’s buildings, the forms are simple, this is why it captures your attention, simplicity is the easiest type of form to capture. The most intriguing thing is that, ‘House II is full of sequenced walls and columns’. It goes to show how very symmetrical and delicate the house was, using L shapes to create voids, but with the dynamic importance of sequenced walls and columns. However looking at, House VI 1972-75 everything in this house isn't supposed to work, but because of the human brain it works differently to how it should, this is typical Eisenman, other architects wouldn't dream of making something so complex, whereas this is where you can tell a slight difference in the style of work, because Eisenman was brave in his thinking of architecture, this house was a turning point in Eisenman’s architecture period, in ‘1970 on wards this is when Eisenman realizes what type of architect he actually is’. He is a geometry genius, the forms and dynamics of his architecture shine throughout all of his pieces that he has created, you can tell when you see an Eisenman.
(Quotes from -Tracing Eisenman: Peter Eisenman Complete works - edited by Cynthia Davidson published 2006)
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