Deconstructivism

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DECONSTRUCTIVISM E
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DECONSTRCUTIVISM… ???? C
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• Deconstructivism in architecture, also called deconstruction, is a N
development of POST MODERNISM that began in the late 1980s.
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• It is characterized by ideas of fragmentation, an interest in manipulating ideas
of a structure's surface or skin, non-rectilinear shapes which serve to distort and T
dislocate some of the elements of architecture, such as structure and
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. The finished visual appearance of buildings that exhibit the many
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deconstructivist "styles" is characterised by a stimulating unpredictability and a
controlled chaos
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• .Deconstructivist philosophy :It was influenced by the formal
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experimentation and geometric imbalances of Russian constructivism
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• There are additional references in deconstructivist to 20th-century V
movements: the modernism/postmodernism, expressionism, cubism ,
minimalism and contemporary Art I
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E GENERAL CHARACTERISTICS OF DE CONSTRUCTIVISM
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• Explodes architectural form into loose collections of related fragments. C
• Destroys the dominance of the right angle and the cube by using the O
diagonal line.. N
• Uses ideas and images from Russian Revolutionary architecture and design
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• Provokes shock, uncertainty, unease, disquiet, disruption, distortion by
challenging familiar ideas about space, order and regularity in the T
environment. R
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• Rejects the idea of the `perfect form' for a particular activity and rejects the
familiar relationship between certain forms and certain activities.
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• Two CONTEMPORARY PERIOD OF DEcubism, have had an influence
strains of modern art, minimalismand CONSTRUCTIVISM E
on deconstructivism.
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• Analytical cubism also had effect on deconstructivism, as forms and
content are dissected and viewed from different perspectives O
simultaneously. N
• A synchronicity of disjoined space is evident in many of the works of Frank S
Gehry and BernardTschumi. T
• It also often shares with minimalism notions of conceptual art
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FRANK GEHRY E
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Deconstructivism is the wave of absolutely new M
style, which believes in irregular shapes of its own

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FRANK GEHRY E
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 FRANK OWEN GEHRY (BORN FRANK OWEN GOLDBERG; FEBRUARY O
28, 1929) IS A CANADIAN AMERICAN ARCHITECT. PRIZE-WINNING ARCHITECT
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BASED IN LOS ANGELES, CALIFORNIA.
 FRANK GEHRY DID VERY UNIQUE AND CHALLENGING WORK IN HIS LIFE .
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 MAINLY WORK IN DECONSTRUCTIVISM AND HI-TECH ARCHITECTURE. T
 HE IS LEGENDRY ARCHITECT BECAUSE OF HIS STYLE OF DESIGN AND DIFFERENT R

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PHYLOSOPHY . T
MOST OF HIS PROJECT BASE ON DECONSTRUCTIVISM for eg. Walt Disney
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Concert Hall , Dancing House in Prague
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Every building is by its very nature a sculpture. You can't help it.
Sculpture is a three-dimensional object and so is a building.“ E
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“I approach each building as a sculptural object, a spatial container, a
space with light and air, a response to context and appropriateness of O
feeling and spirit. To this container, this sculpture, the user begins his
baggage, his program, and interacts with it to accommodate his needs. N
If he can’t do that, I’ve failed.” S
Frank O. Gehry
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In spite of changes in Gehry’s design over the years, his R
approach to a building as a sculpture retains.
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• Gehry’s architecture has undergone a marked evolution from the plywood
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and corrugated-metal vernacular of his early works to the distorted but
pristine concrete of his later works. However, the works retain a T
deconstructed aesthetic that fits well with the increasingly disjointed culture
to which they belong. I
• Most recently, Gehry has combined sensuous curving forms with complex V
deconstructive massing, achieving significant new results.
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•EXPERIENCE MUSIC PROJECT AND THE SCIENCE FICTION HALL OF FAME ARE TWO E
MUSEUMS JOINED AT THE HIP. ONE HOSTS ROCK MEMORABILIA AND MUSIC AND
EXHIBITIONS AND THE OTHER DOES THE SAME FOR SCI-FI. C
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• FABRICATED STEEL FRAME CLAD WITH SHOTCRETE AND SHEET METAL PANELS N
•MUCH OF THE BUILDING MATERIAL IS EXPOSED IN THE BUILDING'S INTERIOR. S
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Experience Music Project

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•IT WAS IMMEDIATELY HAILED AS ONE OF THE WORLD'S MOST SPECTACULAR E
BUILDINGS IN THE STYLE OF DECONSTRUCTIVISM (ALTHOUGH GEHRY DOES NOT C
ASSOCIATE HIMSELF WITH THAT ARCHITECTURAL MOVEMENT) O
•THE MUSEUM IS SEAMLESSLY INTEGRATED INTO THE URBAN N
CONTEXT, UNFOLDING ITS INTERCONNECTING SHAPES OF STONE, GLASS AND S
TITANIUM T
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Guggenheim Museum, Bilbao,
Spain

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PARTITIONS IN GALLERIES M

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•IN A COST-SAVING MOVE THE ORIGINALLY DESIGNED STONE EXTERIOR WAS E
REPLACED WITH A LESS COSTLY METAL SKIN C
•MOST OF THE BUILDING'S EXTERIOR WAS DESIGNED WITH STAINLESS STEEL GIVEN
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A MATTE FINISH,
•THE FOUNDERS ROOM CHILDREN'S AMPHITHEATER WERE DESIGNED WITH N
HIGHLY POLISHED MIRROR-LIKE PANELS S
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•THE REFLECTIVE QUALITIES OF THE
SURFACE WERE AMPLIFIED BY THE R
CONCAVE SECTIONS OF THE
FOUNDERS ROOM WALLS.
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•THERE WAS ALSO THE INCREASED
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RISK OF TRAFFIC ACCIDENTS DUE I
TO BLINDING SUNLIGHT REFLECTED V
FROM THE POLISHED SURFACES.
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Walt Disney Concert Hall, Los Angeles,

•THE STYLE IS KNOWN AS DECONSTRUCTIVISM(“NEW-BAROQUE” TO D
THE DESIGNERS) ARCHITECTURE DUE TO ITS UNUSUAL SHAPE.
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•THE “DANCING” SHAPE IS SUPPORTED BY 99 CONCRETE PANELS, EACH A DIFFERENT C
SHAPE AND DIMENSION. ON THE TOP OF THE BUILDING IS A LARGE TWISTED O
STRUCTURE OF METAL NICKNAMED MEDUSA. N
ALSO THE WINDING MOLDINGS ON THE FACADE MAKE IT MORE CONFUSING
PERSPECTIVE, DIMINISHING THE CONTRAST WITH THE BUILDINGS THAT S
SURROUND IT.“ T
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Dancing House, Prague M

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ZAHA HADID C
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The unique combination of

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Zaha's work can be seen in C
E the Museum of
Transport, Glasgow, now O
S being constructed on the
River Clyde in Scotland.
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I Zaha's mathematical S

G expertise, her
cosmopolitan
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STYL
all, her early inspiration U
from exploring the C
E riverbanks of her native
Iraq - all can be seen in
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this amazing building.
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Viewed from above, the V
impression of ripples in the
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sand is suggestive. From
ground level, transparent S
walls will allow visitors to M
see inside the building as
they approach - from land

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BRIEF BIOGRAPHY E
• Born October 31, 1950, Baghdad, Iraq Iraqi-born British architect C
• Hadid began her studies at the American University in Beirut, Lebanon, O
receiving a bachelor's degree in mathematics N
• 1972 she traveled to London to study at the Architectural Association, a major S
centre of progressive architectural thought during the 1970s. T
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• DESIGN STYLE
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• Her style is Deconstructivism (breaking architecture, displacement and
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distortion, leaving the vertical and the horizontal, using rotations on small, C
sharp angles, breaks up structures apparent chaos) T
• Using light volumes, sharp, angular forms, the play of light and the
integration of the buildings with the landscape. I
• Integrated into their architectural designs using spiral forms. V
• She is an architect known worldwide for her talent in various disciplines
such as painting, graphic arts, three-dimensional models and computer I
design. S
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MAXXI, ROME E
• MAXXI (National Museum of 21st C
Century Art).
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• The museum became the joint home of N
the MAXXI Arts and MAXXI Architecture S
and Italy’s first national museum solely
dedicated to contemporary arts. The T
building is a composition of bending
oblong tubes, overlapping, intersecting R
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and piling over each other, resembling a
piece of massive transport infrastructure
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• It acts as a tie between the geometrical T
elements already present.
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• The building absorbs the landscape V
structures, dynamizes them and gives I
them back to the urban environment.
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Architecture of MAXXI E
Two principle architectural elements C
characterize the project: O
the concrete walls that define the
exhibition galleries and determine the N
interweaving of volumes; S
and the transparent roof that modulates
natural light. The roofing system complies T
with the highest standards required for R
museums and is composed of integrated
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frames and louvers with devices for filtering U
sunlight, artificial light and environmental C
cont
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The fluid and sinuous shapes, the variety I
and interweaving of spaces and the
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modulated use of natural light lead to a
spatial and functional framework of great I
complexity, offering constantly changing S
and unexpected views from within the M
building and outdoor spaces.

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Olympic Aquatics Centre D
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Wining the last year’s most coveted C
architectural prize, Hadid was assigned O
to design London’s Olympic Aquatics
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Centre. The Olympic Aquatics centre,
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was constructed in London which the
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construction of this building took
place in year of 2005 which will form
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part of London’s Olympic Park for a T
2012 Olympic Games and Paralympic I
Games, has a spectacular, sinuous S- V
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shaped roof inspired by the flow of
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water, that is certain to make it a
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London landmark.

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Zha NordparCableRailway.
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• In the project there are
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four stations.
• The concepts of “Shell &
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Shadow” generate each N
station’s spatial quality. S
The fluid shapes and soft T
contours give the appearance
of glacier movements.
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T  New production methods like CNC
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milling and thermoforming allow C
computer generated designs to T
be made into buildings structure.
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• Parts of the building look like V
cars, aeroplane wings, yachts.
Large cantilevers and small touch I
down areas give a floating S
appearance to the shells. M
Images courtesy of Zaha Hadid

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T-SCHUMI C
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A brief biography. D
• BernardTschumi is an architect and educator born in E
Lausanne, Switzerland in 1944. C
•Presently, a permanentUnited States resident who holds O
both French and Swiss nationalities,
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•Tschumi studied in Paris and at the Federal Institute of
Technology (ETH) in Zurich, Switzerland, from which he S
received his degree in 1969. T
•From 1970 to 1979 he taught at the Architectural R
Association .
in London.
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Screenplays, 1978. D
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• The use of film images in these works originated in Tschumi's interest in C
sequences and programmatic concerns. (“There is no architecture without O
action, no architecture without event, no architecture without program.”) Rather
than composing fictional events or sequences, it seemed more informative to act N
upon existing ones. S
• The cinema thus was an obvious source. At the same time, the rich formal and T
narrative inventions of the only genuine 20th-century art inevitably encouraged
parallels with current architectural thought.
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Flashbacks, crosscutting, jumpcuts, dissolves and other editing devices provided a
rich set of analogies to the time and space nature of architecture.
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• Yetthe concerns of the Screenplays were essentially architectural. They dealt
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with issues of:
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- material (generators of form: reality, abstraction, movement, events, etc.)
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- device (disjunction, distortion, repetition, and superimposition)
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- counterpoint (between movement and space, events and spaces, etc.)
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• The Screenplays aimed at developing a contemporary set of architectural tools.
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Parc de La Villette, Paris, 1982 - 97. D
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• Over 1 kilometer long in one direction C
and 700 meters wide in the other La O
Villette appears as a multiple
programmatic field, containing in N
addition to the park, the large Museum S
of Science and Industry, a City of
Music, a Grande Halle for exhibitions T
and a rock concert hall. R
The basis of the design is the
superimposition of three
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independent systems, namely:
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Points
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Lines
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Surfaces
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Superimposition: M
lines, points, surfaces.

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THE CENTRE FOR SCIENCE AND INDUSTRY
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GEODE U
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ZENITH
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GRAND HALL S
MAIN ENTRY M

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1. Points
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• The folies are placed according to a point-grid O
coordinate system at 120 meter intervals throughout
the park. The form of each is a basic 10 x 10 x 10
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meter cube or three-story construction of neutral S
space that can be transformed and elaborated
according to specific programmatic needs. Taken as a
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whole, the folies provide a common denominator for R

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all of the events generated by the park program.
The repetition of folies is aimed at developing
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clear symbol for the park, a recognizable identity
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• Their grid provides a comprehensive image or shape
for the otherwise ill-defined terrain. I
•Similarly, the regularity of routes and positions V
makes orientation simple for those unfamiliar with I
the area. An advantage of the point-grid system is
that it provides for the minimum adequate S
equipment of the urban park relative to the number M
of its visitors. Models of the Folies

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FOLLIES S
FOLLIES
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FOLLIES
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Folie P6: prototype folie

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2. Lines
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• The folie grid is related to a larger O
coordinate structure, an orthogonal
system of high-density pedestrian
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movement that marks the site with a S
cross.
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• The North-South passage or R
Coordinate links the two Paris gates
and subway stations of Porte de la T U
North-south gallery
Villette and Porte de Pantin, the East- C
West Coordinate joins Paris to its T
western suburbs.
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•A5 meter wide, open, waved
covered structure runs the length of V
both Coordinates. I
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East-west passage

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LINES: O
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EAST-WEST AXIS S
Lines are the main
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movement paths R
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across the park
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NORTH-SOUTH AXIS T
The paths do not follow any organizational structure; rather I
they intersect and lead to various points of intersection within V
the park and the surrounding urban area.
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3. Surfaces I
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• The park surfaces receive all activities requiring large expanses of horizontal space for
play, sports and exercise, mass-entertainment, markets and so forth. I
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• During summer nights, for example, the central green becomes an open air film
theater for 3,000 viewers. The so called left over surfaces where all aspects of the M
program have been fulfilled, are composed of compacted earth and gravel.

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SURFACES
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SURFACES R
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SURFACES
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New Acropolis Museum, Athens, 2001 - D
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A movement concept C
• The visitor's route forms a clear three-
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dimensional loop, affording an
architectural promenade with a rich N
spatial experience extending from the S
archeological excavations to the
Parthenon Marbles and back through T
the Roman period. R
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• Movement in and through time is a
crucial dimension of architecture, and of I
this museum in particular. V
• Withover 10,000 visitors daily, the I
sequence of movements through the
museum artifacts is conceived to be of S
utmost clarity. M

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ORGANIZARTION: C
The Museum is conceived as a base, a
middle zone and a top, taking its form O
from the archeological excavation N
below and from the orientation of the
top floor toward the Parthenon.
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A tectonic & programmatic concept
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T The base of the museum design
contains an entrance lobby overlooking
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the Makriyianni excavations as well as
temporary exhibition T
spaces, lobby, retail, and all support I
facilities.
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•The base hoversover the excavation
on more than 100 slender concrete I
pillars. S
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The middle (which is C
trapezoidal in plan) O
is a double-height
space that soars to N
10 meters (33 S
feet), accommodatin
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the Archaic to the R
late Roman period.
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A mezzanine C
features a bar and
restaurant (with a
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public terrace I
looking out toward
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the Acropolis) and
multimedia space. I
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Plan at mid-level

New Acropolis Museum, Athens, 2001 - •The top is the D
rectangular, glass- E
enclosed, skylight
Parthenon Gallery, over 7 C
meters high and with a O
floor space of over 2,050
square meters (22,100 N
square ft). S
•It is shifted 23 degrees
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from the rest of the R
T building to orient it directly
toward the Acropolis.
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•The building’s concrete
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core, which penetrates
upward through all I
levels, becomes the surface V
on which the marble
sculptures of the I
Parthenon Frieze are S
mounted. The core allows
natural light to pass down M
Plan at Top to the Caryatids on the

N`ew Acropolis Museum, Athens, 2001 - D
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Front elevation

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PETER EISHMEN C
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BRIEF HISTORY… C
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• Peter Eisenman was born in Newark, New Jersey.
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• He studied at Cornell and Columbia Universities .
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• Eisenman first rose to prominence as a member of the New York Five.
• In 2001, Eisenman won the National Design Award for Architecture from T
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the Cooper-Hewitt National Design Museum.
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STYLE C
Eisenman has always sought somewhat obscure parallels between
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his architectural works and philosophical or literary theory. I
His earlier houses were "generated" from a transformation of forms V
related to the tenuous relationship of language to an underlying
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structure.
Eisenman's latter works show a sympathy with the ideas of S
deconstructionism M

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• He tries to do is to ‘unlink’ the function that architecture may represent E
from the appearance - form - of that same architectural object. C
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• Concepts: • Techniques: N
– Artificial • Shear S
excavation
• Interference
– Tracing T
• Intersection
– Layering R
• Distortion
– Deformation U
• Scaling
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• Diagrammatic image T
– Add to superposition
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– Deform composition
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Wexner Center for the Arts C
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• Location : Ohio State University,Ohio N
• Building Type :University arts center. S
• Construction System :steel, concrete, glass. T
• Included in the Wexner Center space are a film and video theater, a
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performance space, a film and video post production studio, a
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bookstore, café, and 12,000 square feet (1,100 m²) of galleries. U
• The design includes a large, white metal grid meant to suggest C
scaffolding, to give the building a sense of incompleteness. T
• The extension of the Columbus street grid generates a new pedestrian I
path into the campus, a ramped east-west axis.
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• a major part of the project is not a building itself, but a 'non-building'.
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• Scaffolding traditionally is the most impermanent part of a building.
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• Thus, the primary symbolization of a visual arts center, which is
traditionally that of a shelter of art, is not figured in this case. C
• For although this building shelters, it does not symbolize that function. O
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Deconstructivism

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Deconstructivism