The document discusses the architectural style of deconstructionism, which originated in the 1980s and was influenced by philosopher Jacques Derrida's theory of deconstruction. Key characteristics of deconstructionist architecture include manipulating and recombining basic building volumes into fragmented and irregular shapes through techniques like layering and angular geometries. The style rejects notions of purity of form and absolute truths in architecture promoted by modernism.
5. INTRODUCTION - What?
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It is an architectural movement that began in the early 1980s.
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It is influenced by the theory of "Deconstruction".
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It is characterized by fragmentation, and interest in manipulating a structure's surface or
skin through transform the basic Volumes of architecture (Cube, Cuboid, Pyramid & sphere)
in order to recombine it in a new hybrid shapes.
Fragmentation
Basic Shape
INTRODUCTION
PHILOSOPHY
Recombining
Transformation
HISTORICAL
BACKGROUND
CHARACTERISTICS
CRITIQUES
6. INTRODUCTION - Why?
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Deconstructivism rejected the postmodern acceptance of the historical
references, as well as the idea of ornament as an after-thought or decoration.
Postmodern
Modern
INTRODUCTION
PHILOSOPHY
Deconstruction
HISTORICAL
BACKGROUND
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7. INTRODUCTION - Goals
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Deconstructivism attempts to move away from the supposedly constricting
'rules' of modernism such as:
form follows function
INTRODUCTION
PHILOSOPHY
Purity of form
HISTORICAL
BACKGROUND
CHARACTERISTICS
Truth to materials
CRITIQUES
9. HISTORICAL BACKGROUND
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Deconstructivism came to public notice with the 1982 Parc de la Villette
architectural design competition.
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(especially the entry from Jacques Derrida and Peter Eisenman and Bernard
Tschumi's winning entry).
INTRODUCTION
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BACKGROUND
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10. HISTORICAL BACKGROUND
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The Museum of Modern Artâs (MoMA) 1988 Deconstructivist Architecture
exhibition in New York, organized by Philip Johnson and Mark Wigley.
Philip Johnson
Mark Wigley
INTRODUCTION
PHILOSOPHY
HISTORICAL
BACKGROUND
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11. HISTORICAL BACKGROUND
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and the 1989 opening of the Wexner Center for the Arts in Columbus, designed by
Peter Eisenman.
INTRODUCTION
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12. HISTORICAL BACKGROUND
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The New York exhibition featured works by Frank Gehry, Daniel Libeskind, Rem
Koolhaas, Peter Eisenman, Zaha Hadid, Coop Himmelb(l)au, and Bernard
Tschumi.
INTRODUCTION
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HISTORICAL
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13. HISTORICAL BACKGROUND
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Since the exhibition, some architects associated with Deconstructivism have
distanced themselves from it.
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Nonetheless, the term has stuck and has come to embrace a general trend within
contemporary architecture.
INTRODUCTION
PHILOSOPHY
HISTORICAL
BACKGROUND
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CRITIQUES
15. PHILOSOPHY
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Deconstruction is a literary
theory and philosophy of
language derived principally
from Jacques Derrida's 1967
work Of Grammatology.
INTRODUCTION
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HISTORICAL
BACKGROUND
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16. PHILOSOPHY
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the clearest explanation on Derridaâs thinking, which I also found
to be notoriously difficult. itâs fundamental to Derridaâs
extraordinary view of the world that nothing has much meaning
anyway.
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Thatâs why he struggles so hard not to communicate with us; he
actually intends it to be difficult for us to find out what he says, if
he has anything to say at all!
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Many attempts to explain or to analyze Deconstruction have been
violently rebutted on the grounds that such approaches violate the
very nature of Deconstruction.
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Its proponents insist that "it cannot be described and stated as
other positions can" because it is a new form of logic that has
superseded the old traditional logic in which such analyses are
couched.
INTRODUCTION
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BACKGROUND
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Analyze
Describe
17. PHILOSOPHY
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Derrida tends to work not so much by initiating ideas as by reacting, forcibly, to what
others have written already.
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In each case Derrida aims to refute thinkers with arguments derived from the authorâs
own writings, to demonstrate -successfully in many cases- that the very premises on
which the authors base their cases will, if pursued to their logical conclusions, defeat the
original arguments.
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Deconstruction, after all, is literally concerned -as Derrida insists- with written texts. His
attacks are especially focused on subjects such as:
Subjects
1. Metaphysics
INTRODUCTION
2. Clarity
3. Logocentrism
PHILOSOPHY
4. Meaning
HISTORICAL
BACKGROUND
5. Feelings
CHARACTERISTICS
6. Binary
Thinking
CRITIQUES
7. Phonocentrism
8. Palimpsest
18. PHILOSOPHY
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Metaphysics is the age-old search for âtruthâ and the
âessence of beingâ that has been the center of
occidental Philosophy.
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INTRODUCTION
PHILOSOPHY
Derrida despises this search through the centuries
for the ultimate truth, for the reason of our existence
& the idea that there should be some kind of
"absolute knowledge", "prime mover" or "God".
HISTORICAL
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19. PHILOSOPHY
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This is relevant to architecture in that, for Derrida, there is no
"one best way", no "International Style", no roots from which
all architecture has grown. So there are no received truths Classical, Modernist or other.
Absolutes
in
Architecture
Absolute
knowledge
INTRODUCTION
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20. PHILOSOPHY
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To "deconstruct" at all -program,
form or structure- is to
demonstrate one's view that there
are no absolutes in architecture,
that attempts, such as
Heidegger's (in philosophy) or
Le Corbusierâs, Wrightâs and
others (in architecture) to find
such absolutes are doomed to
failure.
INTRODUCTION
PHILOSOPHY
HISTORICAL
BACKGROUND
Church of the year 2000, Rome by Eisenman.
(Deconstruction itself rejects the existence
of God)
CHARACTERISTICS
CRITIQUES
21. PHILOSOPHY
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Clarity in Structuralist predecessors is to write
simply, directly, clearly and unambiguously,
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INTRODUCTION
PHILOSOPHY
Derrida is part of the Post-Structurlist movement
that strongly reacted against the clarity.
HISTORICAL
BACKGROUND
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23. PHILOSOPHY
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âIt is my evident desire to insinuate my thoughts
into your brain, and thus âcolonizeâ your mind! That
is why they write deliberately in such an unclear,
diffuse, incoherent and ambiguous way that will
get you so angry that, in your struggle to
understand, you will be forced into having your own
thoughts.â -Broadbent-.
Deconstructivist architecture is ambiguous as a
Deconstructivist text, whereas clarity is what we see
when analyzing Modern architecture, simplicity in
its structure, coherence in its programme.
INTRODUCTION
PHILOSOPHY
HISTORICAL
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Diffuse
incoherent
Ambiguous
Struggle to
Understand
Give up
Accept as it
is
24. PHILOSOPHY
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Robert Venturi, an exponent of
Post-Modernism, had
demonstrated a parallel kind of
thinking in architecture when in
"Complexity and Contradiction"
(1966) he attacked "Modernist
transparency".
INTRODUCTION
PHILOSOPHY
HISTORICAL
BACKGROUND
Outside of a building should not be molded
according to its inside logic
CHARACTERISTICS
CRITIQUES
25. PHILOSOPHY
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INTRODUCTION
PHILOSOPHY
Logocentrism: analyzing the structure of our
language -in believe that language is what allows us
to think- to unveil the structure of our thoughts and
thus arrive at those "ultimate truths".
HISTORICAL
BACKGROUND
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26. PHILOSOPHY
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Derrida despises Logocentrism and even rejects any relationship
between a word and its meaning. That is why he uses words in any
way he pleases, and makes it so difficult for us to understand him.
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He wants words (and presumably buildings) to literally have no
single meaning.
INTRODUCTION
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27. PHILOSOPHY
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He sees Deconstruction as
our attempt to recover from
the Tower of Babel! âThe
builders of the Tower
sought political domination
by imposing on the world
their universal language
and their universal
architecture, exactly as
Modern Architecture.
Tower of Babel
INTRODUCTION
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28. PHILOSOPHY
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to Derrida, our aim
should not have been to find
another "only absolute" view but
to seek a diversity of views.â This
is a view clearly contrary to that
of Modernism.
Some architects took literally the notion of no single
meaning and tried to create buildings with no meaning
at all, organized according to pure geometric rules that
would convey no meaning.
INTRODUCTION
PHILOSOPHY
HISTORICAL
BACKGROUND
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30. PHILOSOPHY
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The denial of meaning from Derrida was taken by Deconstructivist
architects and translated as an architecture of pure "syntax" without
any "semantic" meaning.
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Eisenman's aim when designing
most of his early buildings was this,
he used extremely pure, geometric
"syntaxes" with no semantic
references of the kind we loosely call
"meaning".
Semantic architecture
INTRODUCTION
PHILOSOPHY
HISTORICAL
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31. PHILOSOPHY
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INTRODUCTION
PHILOSOPHY
Peter Eisenman says: "People have been concerned with
relating themselves to their physical environment as a
source of security. I believe that if the physical
environment makes them anxious they might turn inward
and the true source of security is internal. The physical
environment can never provide that, it can provide
physical comfort, shelter, but it can never provide
psychological shelter."
HISTORICAL
BACKGROUND
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32. PHILOSOPHY
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When it comes to Eisenman buildings, he creates a really disturbing
spacing completely dislocated and every time you don't know
where you are, or at what level you are, you never know.
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For Heinrich Klotz, Deconstruction
is "an indication of how we perceive
our lives today and a good part of it is
the uncertainty we feel".
Eisenman is concerned in causing an
uncertainty in people
INTRODUCTION
PHILOSOPHY
HISTORICAL
BACKGROUND
CHARACTERISTICS
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94. CRITIQUES
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Certainly arrowheads directed to School of Architecture
deconstruction is ready, and the most important principle
of causality or function architecture, it is possible to
find a column in the dining room unnecessarily, or find a
weapon of iron and glass cutter roof of the building
without a cause functional convincing except for the art
form outside.
INTRODUCTION
PHILOSOPHY
HISTORICAL
BACKGROUND
CHARACTERISTICS
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99. CRITIQUES
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As well as the abandonment of the cultural heritage of
civilization, it approaches disassembly abandon motifs
and architectural elements and replace it with other
elements sharp and vehicle and shocking to the eye.
INTRODUCTION
PHILOSOPHY
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BACKGROUND
CHARACTERISTICS
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102. CRITIQUES
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Geometric movement calling for the demolition of all the
bases Engineering Alakulaidsah.
INTRODUCTION
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CHARACTERISTICS
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103. CRITIQUES
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Calls for the dismantling
of facilities to the parts.
INTRODUCTION
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105. CRITIQUES
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work needs to be seen by reading about it.
Theo Van
Doesberg
Wall house
INTRODUCTION
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HISTORICAL
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106. CRITIQUES
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You need to understand a catalog of ideas.
INTRODUCTION
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107. CRITIQUES
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Building cracker and asymmetry and non-consistency.
INTRODUCTION
PHILOSOPHY
HISTORICAL
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