Ask any of us about Peter Eisenman and be ready to digest a mouthful of information and varied opinions. This semester is Peter Eisenman’s House VI, all day, every day. With connections to discussions of theory and technicality, in studio we tackle the underlying principle.

In the name of design, we take House VI under the microscope and question endlessly. We trace, we model, we discuss and might even complain from time to time. During this process, we identify the intent of every line, the purpose to every additional plane, while following the sequence of process leading to the final design.

Our intention at the time was to digitally compose perfectly replicated House VI drawings using AutoCAD and Illustrator. It is our understanding that Eisenman intended for the lines to be perfectly angled at 90 degrees and for intersections to meet precisely rather than whatever human errors may produce. While Eisenman certainly had a lack of resources that are now available (the computer, of course), his drawings using zip-a-ton and ink inevitably allowed for errors in line construction.

Beginning with drawing straight lines in AutoCAD, it is suddenly apparent that we are left to correct the human errors and often decipher Peter’s intention. Later, when applying color and line weights in Illustrator, we are left to endless test strips for color alterations. Now completed and making for nice walls in our studio, these digitally composed House VI forgeries and the originals can finally have a conversation.