At the same time, these projects were also emblematic of unexpected changes and anomalous ambiguities, because Eisenman’s biography and architectural career are interdependent: they cannot be separated, and it is difficult to decipher some of his postures without referring to personal anxieties. [2]. Rather than isolating and analysing every element in its autonomy, From Formalism to Weak Form has been structured around a series of keywords or concepts that help to define a heterogeneous and interconnected cartography that is detached from any hierarchical configuration. Thanks to the influence of both Michel Foucault and Friedrich Nietzsche, Solàmorales claimed that aesthetics (for example, architecture, painting, literature) could not be based on a closed model; on the contrary, aesthetics had to consist of different heterogeneous elements. To venture into this complex tangle of different phases, projects or essays, implies the risk of becoming trapped in an undiversified accumulation of concepts. During his tenure at the Institute for Architecture and Urban Studies, Eisenman became renowned as a theoretician of architecture. With the project for Cannaregio, Venice (1978), the American architect opened up his theoretical discourse to external solicitations proceeding from other territories and borrowed concepts like context, metaphor, history, and memory. Post-modernism expresses the fragmentation of any fixed perspective: the history of thought is not a progressive enlightenment. By structuring this volume around the concept of form, Stefano Corbo links together Eisenman’s architecture with his theory. Eisenman began to absorb new impulses, and shifted his focus towards different challenges: Venice (Cannaregio project, 1978), Paris (La Villette, in collaboration with Jacques Derrida, 1987) and more recently Berlin (Holocaust Memorial, 2005) represented different steps in the evolution of his idea of form. Peter Eisenman’s main contribution to architecture as a discipline is that it can be detached from responding directly to a particular function. To cite Rafael Moneo, we may say that Eisenman built a dichotomous version of his architecture, based on the opposition between the mental (the deep structure) and the sensorial (the superficial structure). What this means is that architecture must have theory. In 1964 he was a founding member of CASE (Conference of Architects for the Study of the Environment) and in 1967 he founded and served as the director of the IAUS (Institute for Archite… In other words, architecture can be about itself. Among his later projects were the award-winning Memorial to the Murdered Jews of Europe (opened 2005) in Berlin and the University of Phoenix Stadium (opened 2006) in Glendale, Arizona. In “From Formalism to Weak Form: The Architecture and Philosophy of Peter Eisenman,” Stefano Corbo attempts to redress this balance, connecting themes in the design and the theory of the influential architect across the many stages of his 50-year career. The New York-based boutique design firm’s clients have ranged from the individual to the Federal Republic of Germany, from the State of Ohio to the Autonomous Community of Galicia in Spain to corporations in Japan, each with its own needs, financial constraints, and expectations. ArchDaily 2008-2020. • The structure was incorporated into Eisenman’s grid to convey the module that created the interior spaces with a series of planes that slipped through each other. Apart from Derrida, whose influence would lead Eisenman to introduce deconstruction into the American debate (he was to organize an exhibition at the Museum of Modern Art in New York, gathering under the name of deconstructivists very different architects, such as Gehry, Koolhaas, Zaha Hadid, Tschumi, and himself of course), the American architect attempted to find an answer to the end of humanism through a new paradigm − weak ontology. The American architect Peter D. Eisenman (born 1932) studied and made formal use of concepts from other fields—linguistics, philosophy, and mathematics—in his imaginative designs. In Peter Eisenman’s professional activity, architectural criticism and theory have been integral with the production of built form. Chief curator of the Intrepid Sea, Air and Space Museum. Peter Eisenman focused on the concepts of presentness and trace, Daniel Libeskind concentrated on the concept of absence, and Frank Gehry focused on binary oppositions and free play. 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