the monkey would hurl sh*t - er i mean architecture at eisenman and still make a better building.

meta please accept my VideoResume for consideration as your chief designer...

meta, that's a bit harsh isn't it? I mean hell, i've been learning more on how to put CDs together in school than I have at work.

here's an innerview with PeTeYeIsEnStEiN. why does he remind me of john mccain?

petey was ripping wolfie more than the student, although he was being dismissive of te grad student. i've seen worse though, and chances are petey modeled himself after don wall, he was always seeking don's aprroval.

if i was wolfie, i would have said, petey shut the fuck up and talk to the student, you can blow smoke up my ass later...

Desing!

meta, you need to get drunk on the boards more often.

Oh and are you hiring in the NYC area? I'm looking for a gig that pays better than $2.50 an hour at a firm.

I once saw Wolf at a Carl Chu studio presentation. He went off on how far from reality the work is. He wanted to know where the people are in the projects. He kept asking, "Is this supposed to be real?" They all have their discursive territories and they need to pee in each other's once in a while.

in the schema of things none of these people are important or significant outside of that room.

ARCHITECTURE SUCKS.
buy the tee........

I was at an Eisenman crit, he went on the same kind of rant...."how am I supposed to teach students if they don't know what a logia is...etc, etc" until Sarah Whiting, with a shake of the head a sigh interrupted "but Peter, you're a teacher, its your job to teach them what those things are". Which, in my opinion is one of the most reasonable responses to these kind of comments. Peter is of course always didactic but it is Kipnis' comment about "posing" at the end of the video is closest to the truth...at least we know he only means half of way he says, which really isn't any consolation to the students who are looking for honest critiques.

anyone know what level the student and her bodacious tata's are in?

I would have liked a closer look at the project which met was with such disdain by The Great Man. . .

i know the girl, she seems to be Julia Futo, she use to be an intern at one of the offices i worked at in Barcelona, and she was coming back to Vienna to do the Greg Lynn studio...so i think she was actually at Lynn's studio, but the crit of course was Eisenman and the one on her defense Prix (since he's the head of the program at Vienna), and she then had been around her 4th year of undergrad... thats as far as i know/believe

is there a longer clip???

>>> "in the schema of things none of these people are important or significant outside of that room."

I beg to differ! Have you read any critical discourse in architecture since the 1960's?

nope. architecture sucks.

grid, no one outside the community (i.e. The people we design for) gives a shit about "critical discourse in architecture". They just want a roof over their head that looks pretty.

well hell, a smoking monkey can do that.

exactly vado, exactly

PE says he has become a classicist, because of too much time spent with Krier, but I also think he sounds like Stern, who often walks into a crit and complains that students don't understand classical orders or the way to make an entry to a building.

we had an entire semester at NYIT dedicated to thresholds and building entry sequences...

Apurimac>> I am well aware that people outside of the field do not read theory. It is ignorant for you to think that the theory WE read does not affect those that inhabit the buildings we design. Eisenman's writings may not directly affect the people through the words written, but the effect those writings have had on design and built work affects the public daily.

grid, it would be interesting to support that theory with some real examples... which Eisenman writing has affected this or that building and in which way? and how the public really feels affected by that, and how that example can be extrapolated to other situations..

Valid enough point grid, I simply don't see the practice of Eisenmann's theory in current contemporary practice, or should I say praxis.

who's the "Who Am I" bald person? someone famous? Eisenman's Sancho Panza?

behind greg lynn is ross lovegrove

behind eisenman and to his right is mark goulthorpe.

(or i should say: "to the right of eisenman in the image".)

I am kind of curios. If an architect like Eisenman critiqued your project, would defend yourself as much or even more (if you dislike the guy) compared to a regular critique?

i would defend myself just as much as usual i would hope. I've never had a starchitect on a crit before so i can't really say.

didn't wolf use to say architecture must burn?

the reactions are pretty funny...

my take is this (having seen both of these guys on other reviews): the young lady probably presented a project, whose grounding relied heavily on her own 'deep emotional response' to the given assignment. i'm basing this partially on prix's own emphasis in his own work and what i've seen from his studio's before. at any rate, there's a reasonable argument to be made that her explanations lay in a much more 'intuition' based realm than in the sandbox eisenman plays in. so, peter, not trying to be an absolute prick to the young lady (and just ripping her apart according to his own framework of what architecture is), decides to implicitly critique her (and wolf) by going off on this whole 'architecture is a discipline (and one steeped in intellectual tradition no less)' shtick to try and hide his contempt for the approach (how do you critique 'intuition'? is it that i like one response over another?) and to try and impress upon her that 'architecture', as he believes it to be, is grounded in something much more objective and long-standing. hence, the references to borromini/bernini. he's doing this by trying to take the case to wolf, to see if he can get wolf to agree on some level. if he can, then there's an opening to be able to discuss the work on his (eisenman's) terms. if not, there's not much he can say beyond 'i like/don't like'.

really, without the full review (including her presentation), it's hard to say eisenman's being a prick. he may have really taken the high road or may have been a chickensh*t. i didn't see it as a slight to the reviewer as much as an opening salvo in a much broader way of contextualizing the rest of the jury time (both for this project and beyond). simply put, i think he's trying to argue for a ground on which to base his critique and the presentation didn't give him that.

...and why is Eisenman wearing a Real Mandril shirt Orhan? last I checked he is in love with Galicia and even did an awesome stadium proposal for RC Deportivo de la Coruna..."el nuevo Riazorrrrr"
here:

I was just thinking that guy looked like ross lovegrove, would have like to see his criticisms on blobitecture....

Orhan, Real Madrid is full of monkeys with typewriters.. Pete has been a Barça fan since he came to Barcelona for the 1996 UIA meeting..

here you have him tellin' that to Danny, while Norman -ManU- smiles..

it's not Photoshop he really went to the meeting (Herzog-Foster-Eisenman-Libeskind) with that FC Barcelona t-shirt...

LOL, nice pic!

Medit!!! Fantastic. Molt bo!!!! Wow that is the best pic. = )

metamechanic: you got that right!

Sorry Barca fans, the man is one of us. Thats right, GALATASARAY!!!
Real Madrid thing was a decoy... And Barca was to please Danny. AHAhaha....

i always thought eisenman was an american football fan.

and that the buckeyes were his team...





actually, that's probably better suited for the college football 07 thread

GO BUCKEYES!!! WE'RE #1! FUCK MICHIGAN!! YEAH!!!

[i]"you don't know the language of architecture's past, present and future"[i]

Anybody can wear a shirt. . .?

my concept for this project is analogous to the performance by the jimi hendrix experience at monterray pop in 1967 as documented by maysles brothers. as you can see the (fill in name of project here) is a relationship analogous to the industrially manufactured object changing meaning and form while in the hands of the other(ie blaack rockgod james marshall hendrix) who morhologizes his one dangerous but now predictable instrument into a new realm of possiblity through fire. this ancient connection is analogous and reminiscent of both the ancient alchemists and to the future of the unknown as new never heard before sensations are created as the transfigured instruments wails of ecstacy(reminicsent of the ecstacy of saint theresa by borromini's rival bernini) through the still plugged in reverberating instrument who's death wails are also still charged with sexual energy which is analogous to the orgiastic primitive urges that are released through the transmigration of the new.