Deconstructivism is a postmodern architectural style that emerged in the 1980s characterized by fragmentation and an absence of symmetry. It rejects strict modernism in favor of distorted and non-rectilinear shapes. Prominent deconstructivist architects include Frank Gehry, Zaha Hadid, Rem Koolhaas, Daniel Libeskind, and Bernard Tschumi. They are known for works like Gehry's Guggenheim Museum in Bilbao and Hadid's Guangzhou Opera House that feature experimental, curving forms. Deconstructivism uses new software to design complex, non-orthogonal structures that appear unstable yet are carefully engineered.

1. DECONSTRUCTIVISM
ANJALI GUPTA 15001006007
AYUSHI AGARWAL 15001006012
B.Arch Semester - IV

2. DECONSTRUCTIVISM
• Deconstructivism is a movement of postmodern architecture which
appeared in the 1980s, which gives the impression of the
fragmentation of the constructed building. It is characterized by an
absence of harmony, continuity, or symmetry. Its name comes from
the idea of "Deconstruction", a form of semiotic analysis developed
by the French philosopher Jacques Derrida. Architects whose work
is often described as deconstructionism (though in many cases the
architects themselves reject the label) include Peter Eisenman,
Frank Gehry, Zaha Hadid, Rem Koolhaas, Daniel Libeskind, Bernard
Tschumi, and Coop Himmelb(l)au.
• Besides fragmentation, Deconstructivism often manipulates the
structure's surface skin and creates by non-rectilinear shapes which
appear to distort and dislocate elements of architecture. The
finished visual appearance is characterized by unpredictability and
controlled chaos.

3. DECONSTRUCTIVISM
• Its characteristic feature is the idea of fragmentation. It also manipulates
the surface and the cover of the construction. It is dominated by
curvilinear shapes, which are supposed to disturb and dislocate the
skeleton of the object. The structure of the building has a feeling of
controlled chaos and stimulating unpredictability.
• Deconstruction is a continuation of an earlier architecture style -
postmodernism. However, is stands in opposition to the limiting rules of
modernism, including materials fidelity, purity of form or forms
functioning. Deconstructivism in architecture rejects the rule of ornament
as a side effect or an item of decoration.
• Deconstructionists often drew their inspiration from Russian
constructivism. Delighted by the new, experimental forms and geometric
structure destabilization. Today, in their work, architects need a computer.
It helps in the creation of projects in destructivism and inexpensive mass
production of subtly differing elements.

4. Architects using this style
• Frank Gehry
• Zaha hadid
• Rem Koolhaas

5. Frank Owen Gehry
• Frank Owen Gehry, (born Frank Owen Goldberg; 28 February 1929) is a Canadian-
born American architect, residing in Los Angeles.
• A number of his buildings, including his private residence, have become world-
renowned attractions. His works are cited as being among the most important
works of contemporary architecture in the 2010 World Architecture Survey, which
led Vanity Fair to label him as "the most important architect of our age".
• Gehry's best-known works include the titanium-clad Guggenheim Museum in
Bilbao, Spain; Walt Disney Concert Hall in downtown Los Angeles; Louis Vuitton
Foundation in Paris, France; MIT Ray and Maria Stata Center in Cambridge,
Massachusetts; Museum of Pop Culture in Seattle; New World Center in Miami
Beach; Weisman Art Museum at the University of Minnesota in Minneapolis;
Dancing House in Prague; the Vitra Design Museum and the MARTa Herford
museum in Germany; the Art Gallery of Ontario in Toronto; and 8 Spruce Street in
New York City.
• It was his private residence in Santa Monica, California, that jump-started his
career. Gehry is also the designer of the future National Dwight D. Eisenhower
Memorial.[

7. Dancing House, Prague
Museum of Pop Culture, Seattle

8. Cabrillo Marine Aquarium
Chiat/Day Building in Venice, California

9. Design Philosophy
• The Guggenheim Museum in Balboa, Spain,
Gehry’s most iconic work, features an exterior of
titanium, glass and limestone that is both
rectangular and traditional and also dramatically
curved and folded. The frame houses both
regular and irregular gallery shapes within. The
blend of classic and distorted figures in Gehry's
work fragments buildings into elements visually
at odds with one another and with their
respective environments. Gehry intends this
elaborate approach to design to greatly imprint
his buildings in local culture.

10. Guggenheim Museum, Bilbao
• Set on the edge of the Nervión River in
Bilbao, Spain, the Guggenheim Museum is a
fusion of complex, swirling forms and
captivating materiality that responds to an
intricate program and an industrial urban
context. With over a hundred exhibitions and
more than ten million visitors to its
recognition, Frank Gehry’s Guggenheim
Museum Bilbao not only changed the way that
architects and people think about museums,
but also boosted Bilbao's economy with its
astounding success. In fact, the phenomenon of
a city’s transformation following the
construction of a significant piece of
architecture is now referred to as the “Bilbao
Effect.” Twenty years on, the Museum continues
to challenge assumptions about the connections
between art and architecture today.

11. • The riverside site is on the
northern edge of the city
center. A road and railway line is
to the south, the river to the
north, and the concrete structure
of the Salve Bridge to the
east. Making a tangible physical
connection with the city, the
building circulates and extrudes
around the Salve Bridge, creates a
curved riverside promenade, and
forms a generous new public
plaza on the south side of the site
where the city grid ends. The
building alludes landscapes, such
as the narrow passageway to the
main entrance hall reminiscent of
a gorge, [2]or the curved walkway
and water features in response to
the Nervión River.

12. • The building’s walls and
ceilings are load-
bearing, containing an internal
structure of metal rods that
form grids with
triangles. CATIA calculated the
number of bars required in
each location, as well as the
bars’ positions and
orientations. In addition to
this structure, the walls and
ceilings have several insulating
layers and an outer coating of
titanium. Each piece is
exclusive to its
location, determined by the
CATIA software.

13. • The large, light-filled atrium serves as the
organizing center of the museum, distributing
11,000 square meters of exhibition space over
nineteen galleries. Ten of these galleries follow a
classic orthogonal plan that can be identified from
the exterior by a limestone finish. The remaining
nine galleries are identified from the outside by
swirling organic forms clad in titanium. The largest
gallery is 30 meters wide and 130 meters long and
houses a permanent installation called “The
Matter of Time” by Richard Serra.
• The socio-economic impact of the museum has
been astounding. During the first three years of
operation, almost 4 million tourists visited the
museum—generating about 500 million in
profit. Furthermore, the money visitors spent on
hotels, restaurants, shops and transport collected
over 100 million in taxes, which more than offset
the cost of the building. However, the promise of
the “Bilbao Effect” also sparked a building boom in
"statement" architecture across the globe, one
which proved imprudent in the wake of the recent
economic crisis. Nevertheless, the Museum
remains an iconic structure renowned for its
complexity and form

14. Zaha Hadid
• Dame Zaha Mohammad Hadid was an Iraqi-British
architect. In 2004 she became the first woman
recipient of the Pritzker Architecture Prize.
• She was born in Baghdad on Oct 31, 1950.
• She died in Miami, Florida on March 31, 2016
• She was a naturalised citizen of the United Kingdom.
• She was the highest paid architect till 2015 and was
known for her futuristic fluidic designs.
• She is credited with putting velocity into architecture.

16. • Zaha Hadid was the first architect to introduce
computational programming to the field of
architecture.
• Being a graduate in mathematics, she used
mathematical programming softwares like
‘Grasshopper’ which were earlier not
imagined to be used in architectural design.
• Due to this innovations, twisted and skewed
structures could be designed and visualised.

17. FAMOUS WORKS
• Maxxi Museum , Rome
• Guangzhou Opera House, Guangzhou
• Vitra Fire Station, Germany
• Bridge Pavillion, Spain
• Heydar Aliyev Cultural Centre in Baku,
Azerbaijan

19. VITRA FIRE STATION
• The building, as in her paintings, carry a powerful sensation of movement.
The impression of the building changes dramatically as one moves past it –
the walls, which are visually impenetrable from oblique angles, suddenly
afford a view to the inside of the garage as one approaches a
perpendicular angle. Lines inscribed in the pavement reflect the
movement of the building’s intended occupants: tracks curve out of the
garage meant to house fire engines, while other paths hint at the
choreographed exercises of the firemen. Even the walls of the building
seem poised to slide past each other; in the case of the garage, two large
panels actually do
• The resulting impression is that of “frozen movement.”It is a fitting
architectural mood for a fire station, which must remain on constant alert;
the design reflects that tension, as well as the potential to burst into
action at any given moment. With as much effort as Hadid put in to
represent the nature of a fire station, it is ironic that her design saw no
real service in that role – instead, it is now used an exhibition and special
event space.

20. MAXXI MUSEUM ROME
Heydar Aliyev
Cultural Centre in
Baku, Azerbaijan

21. Guangzhou opera House
Bridge Pavillion

22. MAGGIE’S CENTRE

23. Heydar Aliyev Cultural Centre in Baku,
Azerbaijan
• The design of the Heydar Aliyev Center establishes a continuous, fluid relationship between
its surrounding plaza and the building’s interior. The plaza, as the ground surface; accessible
to all as part of Baku’s urban fabric, rises to envelop an equally public interior space and
define a sequence of event spaces dedicated to the collective celebration of contemporary
and traditional Azeri culture. Elaborate formations such as undulations, bifurcations, folds,
and inflections modify this plaza surface into an architectural landscape that performs a
multitude of functions: welcoming, embracing, and directing visitors through different levels
of the interior. With this gesture, the building blurs the conventional differentiation between
architectural object and urban landscape, building envelope and urban plaza, figure and
ground, interior and exterior.
• Fluidity in architecture is not new to this region. In historical Islamic architecture, rows, grids,
or sequences of columns flow to infinity like trees in a forest, establishing non-hierarchical
space. Continuous calligraphic and ornamental patterns flow from carpets to walls, walls to
ceilings, ceilings to domes, establishing seamless relationships and blurring distinctions
between architectural elements and the ground they inhabit. Our intention was to relate to
that historical understanding of architecture, not through the use of mimicry or a limiting
adherence to the iconography of the past, but rather by developing a firmly contemporary
interpretation, reflecting a more nuanced understanding. Responding to the topographic
sheer drop that formerly split the site in two, the project introduces a precisely terraced
landscape that establishes alternative connections and routes between public plaza, building,
and underground parking. This solution avoids additional excavation and landfill, and
successfully converts an initial disadvantage of the site into a key design feature.

25. • The Heydar Aliyev Center principally consists of two collaborating
systems: a concrete structure combined with a space frame system.
In order to achieve large-scale column-free spaces that allow the
visitor to experience the fluidity of the interior, vertical structural
elements are absorbed by the envelope and curtain wall system. The
particular surface geometry fosters unconventional structural
solutions, such as the introduction of curved ‘boot columns’ to
achieve the inverse peel of the surface from the ground to the West
of the building, and the ‘dovetail’ tapering of the cantilever beams
that support the building envelope to the East of the site.
• The space frame system enabled the construction of a free-form
structure and saved significant time throughout the construction
process, while the substructure was developed to incorporate a
flexible relationship between the rigid grid of the space frame and
the free-formed exterior cladding seams. These seams were derived
from a process of rationalizing the complex geometry, usage, and
aesthetics of the project. Glass Fibre Reinforced Concrete (GFRC) and
Glass Fibre Reinforced Polyester (GFRP) were chosen as ideal
cladding materials, as they allow for the powerful plasticity of the
building’s design while responding to very different functional
demands related to a variety of situations: plaza, transitional zones
and envelope.

27. REM KOOLHAAS
• Remment Lucas "Rem" Koolhaas born 17 November 1944) is a
Dutch architect, architectural theorist, urbanist and Professor in
Practice of Architecture and Urban Design at the Graduate School of
Design at Harvard University. Koolhaas studied at the Architectural
Association School of Architecture in London and at Cornell
University in Ithaca, New York. Koolhaas is the founding partner
of OMA, and of its research-oriented counterpart AMO based in
Rotterdam, the Netherlands. In 2005, he co-founded Volume
Magazine together with Mark Wigley and Ole Bouman.
• He is widely regarded as one of the most important architectural
thinkers and urbanists of his generation.In 2000, Rem Koolhaas won
the Pritzker Prize. In 2008, Time put him in their top 100 of The
World's Most Influential People.

29. McCormick Tribune Campus Center
Rem Koolhaas
Chicago, United States
Casa da Música
Rem Koolhaas
Porto, Portugal

30. McCormick Tribune Campus Center
Rem Koolhaas
Chicago, United States
Dutch Embassy
Rem Koolhaas
Berlin, Germany

31. CCTV Headquarters
Rem Koolhaas (OMA)
Beijing, China
Kunsthal Rotterdam
Rem Koolhaas (OMA)
Rotterdam, Netherlands

32. CCTV Headquarters, Beijing China
• CCTV defies the skyscraper’s typical quest for ultimate
height. Rising from a common platform, two towers
lean towards each other and eventually merge in a
perpendicular, 75- metre cantilever. The design
combines the entire process of TV-making – formerly
scattered in various locations across the city – into a
loop of interconnected activities.
• The structure of the CCTV Headquarters, and the forces
at work within it, is visible on its façade: a web of
diagonals that becomes dense in areas of greater
stress, looser and more open in areas requiring less
support. The façade itself becomes a visual
manifestation of the building’s structure