Below, the headline of critic Paul Goldberger’s article on Peter Eisenman’s House VI, published in The New York Times Magazine, March 20, 1977.
In Eisenman’s words:
…the house is not an object in the traditional sense–that is, the end result of a process–but more accurately the record of a process. The house, like the set of diagrammed transformations on which its design is based, is a series of film stills compressed in time and space. Thus, the process itself becomes an object; but not an object as an aesthetic experience or as a series of iconic meanings. Rather, it becomes an exploration of the range of potential manipulations latent in the nature of architecture, unavailable to our consciousness because they are obscured by cultural preconceptions.
cf. Process Art, Post-Minimalism, “Specific Object.”