This paper undertakes an analysis of the role and function of gold in a series of architectural projects developed between 1978-1986 by Peter Eisenman (1932). While other projects by Eisenman are discussed, the paper focuses on the Cannaregio (Venice, 1978), Romeo and Juliet (Verona, 1985) and University Art Museum (Long Beach, 1986) projects. As Eisenman has claimed, this period coincides with a swerve in his practice and conceptual biases. The analysis thus not only interrogates gold’s formal, spatial and theoretical aspects and its various manifestations in a limited number of projects but also interrogates the characteristics of this hinge time in Eisenman’s larger practice.
6 Jul 2016
Gold: 33rd Annual Conference of the Society of Architectural Historians, Australia and New Zealand