Conversations with Peter Eisenman: The Evolution

Peter Eisenman’s architecture carries many layers and meanings; one question leads to the next and one conversation provokes another. Vladimir Belogolovsky’s new book highlights three separate conversations he had with the architect at his New York City studio in October 2003, June 2009, and February 2016. These conversations are part of the author’s ongoing interview project he initiated in 2002, discussing architecture with over 100 leading international architects. “Peter Eisenman is in the bloodline of Palladio, Le Corbusier, and Robert Venturi, and in this book of brutally honest conversations between him and critic Vladimir Belogolovsky pithy assertions emerge, sometimes in contradiction, as Belogolovosky sympathetically questions this authority, one whose deep commitment to his art, over fifty years, has helped change contemporary architecture. (…) Eisenman bemoans the fact that celebrity architects have supplanted such authorities, that is, authors of a critical... Peter Eisenman’s architecture carries many layers and meanings; one question leads to the next and one conversation provokes another. Vladimir Belogolovsky’s new book highlights three separate conversations he had with the architect at his New York City studio in October 2003, June 2009, and February 2016. These conversations are part of the author’s ongoing interview project he initiated in 2002, discussing architecture with over 100 leading international architects. “Peter Eisenman is in the bloodline of Palladio, Le Corbusier, and Robert Venturi, and in this book of brutally honest conversations between him and critic Vladimir Belogolovsky pithy assertions emerge, sometimes in contradiction, as Belogolovosky sympathetically questions this authority, one whose deep commitment to his art, over fifty years, has helped change contemporary architecture. (…) Eisenman bemoans the fact that celebrity architects have supplanted such authorities, that is, authors of a critical architecture that reflects on its own language. All art languages must do this, an important insight of semiotics in the 1960s when Eisenman first started critical practice.” (Charles Jencks) Язык издания: английский.