UNIVERSITY OF PUNJAB

DEPARTMENT OF ARCHITECTURE

MASTER IN ARCHITECTURE

COURSE: ARCHITECRURE THEORY AND CRITICISM

DECONSTRUCTIVISM: TRANSLATION FORM

PHILOSOPHY TO ARCHITECTURE

SUBMITTED BY

MOEEZ HASAN NAWAB

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Contents
Abstract ................................................................................................................................................. 4

INTRODUCTION................................................................................................................................ 5

INTRODUCTION ...................................................................................................................................... 6

DECONSTRUCTIVISM .............................................................................................................................. 7

RESEARCH QUESTIONS & METHODOLOGY .......................................................................... 9

RESEARCH QUESTIONS ......................................................................................................................... 10

METHODOLOGY ................................................................................................................................... 10

HISTORICAL PERSPECTIVE ....................................................................................................... 11

HISTORICAL BACKGROUND ................................................................................................................. 12

ORIGIN OF DECONSTRUCTIVISM .......................................................................................................... 12

ORIGIN OF DECONSTRUCTIVISM ............................................................................................ 14

LE PARC DE LA VILLETTE .................................................................................................................... 15

HISTORIC BACKGROUND ................................................................... ERROR! BOOKMARK NOT DEFINED.

DECONSTRUCTION AND ARCHITECTURAL SPACE ............................................................................... 23

PHILOSOPHY OF DECONSTRUCTION .................................................................................................... 23

ARCHITECTS AND DECONSTRUCTIVISM .............................................................................................. 24

BERNARD TSCHUMI .............................................................................................................................. 24

PETER EISENMAN ................................................................................................................................. 25

ZAHA HADID ......................................................................................................................................... 26

FRANK GEHRY ...................................................................................................................................... 27

POST-MODERNISM & DECONSTRUCTIVISM ......................................................................................... 27

ROBERT VENTURI ................................................................................................................................. 28

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.............................................................................................................................................................. 29
DESIGN CHARACTERISTICS .................................................................................................................. 29

CLASSIFICATION .................................................................................................................................. 30

LAYERING ............................................................................................................................................ 30
NOTABLE ARCHITECTS ........................................................................................................................ 31

ANGULAR.............................................................................................................................................. 33

NOTABLE ARCHITECT .......................................................................................................................... 33

EXAMPLES ............................................................................................................................................ 35

ORGANIC .............................................................................................................................................. 35

NOTABLE ARCHITECT .......................................................................................................................... 35

DESIGN CHARACTERISTICS – CHAOS ................................................................................................... 38

NOTABLE ARCHITECT .......................................................................................................................... 38

CONCLUSION ........................................................................................................................................ 39

REFERENCES ........................................................................................................................................ 39

BIBLIOGRAPHY..................................................................................................................................... 40

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 ABSTRACT

“When we deconstruct anything, we simply do not destroy, dissolve or cancel the legitimacy of what
we will be constructing”. -Jacques Derrida-

Deconstruction, is a form of analysis that can be either philosophical or literal. It is derived mainly
from the work of a renowned French philosopher, Jacques Derrida in the 1960s. It questions the
basic conceptual distinctions in western philosophy through a close examination of language and
logic of philosophical and literary texts. As we can see that there is a significant interaction among
architecture and human sciences which are philosophy, psychology and sociology. In this report the
relationship of physiological current of destruction with deconstructive architecture is explained.

Firstly, the report includes the work of Jacques Derrida as I discussed above and then it will describe
the basic concept of philosophy. Then this report will include the basic deconstruction concepts that
were transferred to architecture and became the basis of Deconstructivist architectural styles.

DE constructivist buildings and projects lack visual logic; however, they are mixed with the
principles of deconstruction philosophy. The transfer of the concepts of deconstruction to
architecture were modified and renamed so that it could suit architecture of modern times. However,
the renowned DE constructivist architects did not apply all the principles of deconstruction but they
remained their focus on one or two concepts of deconstructivism and made them fundamental
principles of their personal styles in architecture.

Peter Eisenman focused on the concepts of present-ness and trace, Daniel Libeskind concentrated on
the concept of absence, and Frank Gehry focused on binary oppositions and free play. Finally, we
can say that a DE constructivist architect is not as free as a reader or a philosopher; not everything
that one can do in philosophy or literature can be done in architecture.

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INTRODUCTION

5
 INTRODUCTION

“Architecture is one of the oldest human crafts. It began with the birth of man and is accompanying
him since through different stages of his life. It is changing as mankind is changing and is
accompanying his different influences. However, as Man tries to change himself according to
society, culture, traditions and politics, Architecture is also influenced by them and changes
according to culture and society etc.”
(Hoteit, 2015). Architecture is not just a physical art, it is a social humane art. As Man tries to
change himself according to circumstances, any change or idea that is present, is reflected in
architecture. In a manner, architecture can be related to writing. Because when we try to read them,
we can understand the structure of society in which they are built, its relationship with people and the
outside world.
As I have discussed above, there is always a significant interaction between architecture and the
human sciences.

Picture reference and name of building

If we define “deconstructivism” (although it is not the verified word in dictionary), it literally means
breaking down or destroying a constructed structure, whether for some structural reasons or it is

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considered an act of rebellion. This could be the reason that many people these days misunderstood
the movement of deconstructivism.

DECONSTRUCTIVISM

Deconstructivism is not entirely a new style of architecture. Some people consider it to be a

movement against architecture or society which is not true at all. It is true that Deconstructivism does
not follow rules or require specific aesthetics. It unleashes infinite opportunities to play with any
form or shape possible.

It is characterized by fragmentation, and interest in manipulating a structure's surface foreskin

through transform the basic Volumes of architecture (Cube, Cuboid, Pyramid & sphere) in order to
recombine it in a new hybrid shape.

Architects always want to make the perfect design to achieve the pure and perfect form in order to
gain beauty and delight but on the other hand, deconstructivism appreciates the impurities in the
design elements and the design itself.

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The movement of DE constructivist architecture rejected the historical references of postmodern
acceptance, as well as the concept of decoration or ornament as an after-thought.

As Deconstructivist Architecture does not follow rules of modernism such as:

Form Follows Function Purity of form Truth to materials

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RESEARCH QUESTIONS & METHODOLOGY

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 RESEARCH QUESTIONS

 How is Deconstructivism different from Modernism?

 How can we make our design complex but functional?
 How can we incorporate human experience through deconstructive architecture?
 How does deconstructive architecture influence people’s life styles?
 How can we provide better living conditions while using limited resources?
 How can we build something highly functional as well as affordable at the same time?

METHODOLOGY

For the initiation and subsequent completion of this research report, qualitative methodology is used.
Moreover, both the primary and secondary sources have been used for the collection of relevant data.
The analysis of data is made with the help of close textual analysis.

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HISTORICAL PERSPECTIVE

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 HISTORICAL BACKGROUND

ORIGIN OF DECONSTRUCTIVISM

Deconstruction, is derived mainly from the work of a renowned French philosopher, Jacques Derrida in
the 1960s. It questions the basic conceptual distinctions in western philosophy through a close
examination of language and logic of philosophical and literary texts.

At the start of 20th century, which was the period of fundamentalism, which was derived from the
reaction to decorated styles such as Art Nouveau etc. In modern architecture it was considered to be the
style of past. After industrial revolution, the advanced technology became an opportunity to convey the
idea of fundamentalism. The intellectual center for early modernists was the Bauhaus, which exposed
the new sense of White Architecture in an attempt of clarity and truth to Architecture. They did all this
through detailing and by giving emphasis on shape and colors. This succeeded slowly onto a High
Modernist approach where modern Architecture became an international style.

‘Form ever follows function’, Louis Sullivan, 1896

Bauhaus Centre, Metropolitan Jackson Pollock’s Autumn Rhythm,1950.

Museum of Art, 1919-1933 Postmodern art in the expressionist forms.

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There was a little bit of reaction to this with Post Modernism and as Deconstructivism followed no rule,
so it played an important part in anti-modern trend. There was a feeling that Modernism repressed a lot
of human experience and was not environment friendly, which should be the most important part of any
building. Some would say that fundamentalism of Modernists was too overwhelming and was always
rejecting complexity of things and of human experience.

The period of Post Modernism was an attempt to regain the lost complexity of life into our surroundings.
It also contained simplicity and as well as complexity, which are two different ways of doing same
thing.
Jacques Derrida, a French Philosopher felt that modernism is being repressing some of the aspects of
human experience; religion, culture, pop and eclecticism, all of them became movements or reactions
afterwards. Deconstructivism mainly dealt with the complexity.

Deconstructivism started from renowned philosopher Sigmund Freud (1856-1939). Freud stated in his
book ‘The Unconscious’ that there was a contradiction between the human expression and theory of
repression, namely creativity. Freud explained that the ‘Unconscious’ part of ourselves was being
oppressed by geometrical form. Derrida with Peter Eisenman (in the 1960s) developed this into an
Architectural form of Deconstructivism.

Sigmund Freud, The Unconscious, 1915 Peter Eisenman, Wexner Center for the Arts, 1989.

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ORIGIN OF DECONSTRUCTIVISM

Bernard Tschumi, a Swiss Architect who was adapted the theory of destructivism in his designs in a
very skilled manner. He selected elements of experience and combined them to form a new design. At
this point of time, one would fell that Modernism had failed in some way making everyone think that “Is
that all Modernism has to offer?”. In his book, ‘Red is not a color’, he discussed his architectural
concepts in a detailed manner. He stated that “Architecture will break out of its cultural isolation and
expand the particular form of knowledge of its time” and “where reality meets fantasy”. According to
his designs , he wanted to expose the complexity in even simpler things, by introducing elements back
into Architecture such as color, joy and the Pleasure of Architecture which were the most important
things in relation to human experience. I tend to agree with this statement, if we were to consider Le
Corbusier’s Villa Savoye. There is not doubt that it is beautiful piece of Architecture, but this is because
of its logicalness and its functionalism. On that basis, Le Corbusier had to oppress some aspects of his
design to realize final scheme.
According to Nilsson (2004), simultaneously architecture is an architectural oncology in metaphysical
thinking and interpretation of many ways of thinking. There has been a relationship between architecture
and philosophy. This relation was not only seen in Derrida’s writing but was also seen through Derrida’s
collaborative work with architects, namely Peter Eisenman and Bernard Tschumi in designing the “Parc
de la Villette” in 1982. They were the results of this solid link that encourage Eisenman to invite.
Derrida join him in recommending some creative ideas for park as per the principles of
deconstructivism. The architecture of the “Follies” named the first cooperation between these two.

Derrida and Eisenman and Daniel Libeskind were bothered with "metaphysics of presence," and it
proved as the main subject of deconstructivism in architecture theory. The assumption is that
architecture is way of receiving treatments and transmitting meaning by ways of linguistic philosophy.
This approach of void and solid; absence and presence occur in much of Eisenman's projects, both

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unbuilt and built. Both architects always believed that the point of presence or form, is architecture.
Architecture is the terminology of interpretations and expressions. Derrida always believed that text is
best understood when it is worked out with sequential structures. Similarly every deconstructivist
architect must have a prominent stereotypical architecture that can be decoded. A good example of this
belief is design of Santa Monica residence by Gehry. The building is a perfect example of
deconstructivist architecture. Gehry followed principles of “deconstructivism” by deconstructing a
suburban house. He transformed its massing, envelopes, planes and some other components on a part of
"deconstruction”. Undoubtedly, any architect who is associated to deconstructivism would not be as
liberal as scholar or logician as everything done in language cannot be done freely in architecture.
Deconstructivist Architect’s like Peter Eisenman converged on concepts of presentness and trade, Daniel
Libeskind centralized on concept of absence and Frank Gehry concentrated on binary oppositions and
free play.

Santa Monica residence by Gehry

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 Le Parc de la Villette
Now we must keep in considerations the general concepts of Deconstructivism and apply them to the
design of Le Parc de la Villette. We can say that Deconstructivism came to notice of the public through
architectural design competition of Parc de la Villette in 1982.
Bernard’s proposal for the park was a Deconstructivist and an idealistic approach that had never been
attempted before at this scale. He wanted to regain the sense of discovery and freedom for visitors to
site. To evoke exploration, he dispersed 10 themed gardens formed by curved pathways that you would
come across. Each garden encourages different activities. Two perpendicular walkways raise visitors up
into the tree line leading you to various points of the site. Tschumi organized space by placing a grid of
35 points or follies, all individual in form, for which the visitors can use as orientation and reference
around the site. Finally, 85 acres of land is dedicated as open air space to still give Parisians a sense of
separation from the urban cityscape of Paris.

In French construction, there is tendency for decision making, which is why President Mitterand secured
300 million dollars to fund the project without getting the approval of the government. However, there
were tensions about this much budget in government that upset the time of construction of the project. In
1982, no one knew that government budgeted this much money and so in 1986, the funding of this
project was nearly ended.

Bernard Tschumi, Park de la Villette, 1982-98 (Photograph, Adam Brown)

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Bernard Tschumi, Park de la Villette, 1982-98 Bernard Tschumi, Park de la Villette, 1982-98

(Plan of point grid system) (Elevated walkway across Canal de L’orcque)

Bernard Tschumi, Park de la Villette, 1982-98 (Concept for the point grid system, used throughout the site)

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Bernard Tschumi, Park de la Villette, 1982-98 (Using elements of transformation; repetition,
distortion, fragmentation and superimposition)

Bernard Tschumi, Park de la Villette, Bernard Tschumi, Park de la Villette, 1982-98 (Stairway of

1982-98 (Diagram representing an Follie R5, photograph, Adam Brown)

explosion of a deconstructed cube)

Now when we try to see the relationship between the 3 design aspects of Le Parc de la Villette (Points,
Lines and Surfaces), no doubt that they are superimpose and contradict one another. When each layer is
placed in plan, they clash with one another. These three layers of design are detached completely from

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one another and therefore they give impression of complexity. The common techniques which are used in
the deconstructivism movement are as follows:

 Contention
 No proper order
 Equivocation

All of the above theories come together to add richness in life. It also adds the beauty in the nature of
being and also enhance their relation with human beings.

Bernard Tschumi, Park de la Villette, 1982-98 (Axial route run parrallel to the orthogonal grid.)

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Bernard Tschumi, Park de la Villette, 1982-98
(Diagram showing the access routes and main
attractions of the park)
Bernard Tschumi, Park de la Villette, 1982-98
(3s superimposed spatial organizations.)
System of movement, Lines.
System of Objects, Points.
System of Spaces, Surfaces.
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 HISTORICAL BACKGROUND

The Museum of Modern Art’s (MoMA) 1988 Deconstructivist Architecture exhibition in New York,
organized by Philip Johnson and Mark Wigley.

Philip Johnson

Mark Wigley

The 1989 opening of the Wexner Center for the Arts in Columbus, designed by Peter Eisenman.

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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.

Since the exhibition, some architects associated with Deconstructivism have distanced themselves from
it.
Nonetheless, the term has stuck and has come to embrace a general trend within contemporary
architecture.

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 Deconstruction and Architectural Space
As we know that for last 400 years, architecture has focused on producing form, which also helped in
gaining value of architectural form, while space was considered as the left over. Nowadays, many
architects respect space as origin for their designs, and then they construct series of spaces that are not
the outcome of framing grounds and don’t shape from generation of pre-existent shapes. The product, is
the result of process of design to combine these spaces together. Space and place make architectural
theorists to enquire through philosophic debates and they gain great amount of criticism about theories
of past within their discipline. Such criticism always questions assumptions that relate to architecture
and relation to its space. “If space has boundaries, is there another space outside those boundaries? If
space does not have boundaries, do things then extend infinitely?” These questions are raised by an
Architect who has worked on deconstructivism, related to space were philosophical for theory of
Architecture.
In deconstruction theory, architectural space is “critical, dangerous, disorienting, reorienting, full of
potential, and traversed by energy and hope.”

PHILOSOPHY OF DECONSTRUCTION
Critics of deconstruction consider it as anti-philosophical process that has no relation with the reality. It
looks like it has nothing to do with architecture. They say that these are the conflicts, while those who
are in favor of deconstructivism describe it as paradoxes.
“But, perhaps deconstruction is less properly regarded as a philosophical position that has something to
say about architecture than a philosophical attitude that one brings to bear upon architecture”.

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 ARCHITECTS AND DECONSTRUCTIVISM

By the early 1980, everyone could see that something new was happening. Architects trying out
different ideas and concepts in very different places. These Architects placing building at very odd
angles to develop new shapes and forms and to develop new ideas. Such kind of work is done by some
of the notable Architects including Richard Meier, Zaha Hadid, Eisenman and Bernard Tschumi. As we
can see that Deconstructivism’s origin is not to be found on philosophy alone, as only two Architects
agreed on the writings of Derrida and also applied them in Architecture. Those two Architects were
Peter Eisenman and Bernard Tschumi. Both of them also worked on a project with Jacques Derrida.
The following movements of that time such as Dadaism, Experimental art and Cubism are especially
influential on Hadid, Libeskind and also on Gehry.

BERNARD TSCHUMI

Bernard Tschumi translated Deconstruction philosophy to Architecture in a beautiful manner.

“If in today’s world, he says, railway stations become museums and churches become nightclubs, we
must come to terms with the extraordinary interchangeability of form and function, the loss of traditional
cause-and-effect relationships as sanctified by modernism. Form does not follow function any more. If
the respective contamination of all categories, the constant substitutions and the confusion of genres are
the new directions of our times, it may well be used to our advantage.”

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 PETER EISENMAN

In many of his projects, Peter applied the concept of menuscript. He searched for inspiration in the ruins
of the past. Eisenman wanted to challenge the tragic history of Berlin. He overlapped two different
geometric grids on plan, one was taken from the old ruins of berlin’s nineteenth century, another was
taken from the part of Berlin that was laid out to Friedrich the Great in early 17th and 18thth century. He
clads buildings with some of the other grids, containing small and large squares, they were so big that
they were never even completed.

Eisenman used extraordinary pure and geometric syntaxes to give his designs “semantic” meaning that
you can’t even understand directly from the forms. You can only read them if you have read Eisenman’s
explanations.

Eisenman – Frankfurt Bio Zentrum Eisenman – Carnegie Mellon Center

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 Eisenman- Wexner Center, Ohio

ZAHA HADID
Zaha Hadid incorporated deconstructive Architecture in the Hong Kong Peak Competition. She rebuilt
the landscape to give it a shape of “man-made polished granite mountain” of large geometric forms.
Then she put four huge beams horizontally into this part of the mountain. The “beams ” are piled on
different angles on top of one another. The main idea of this project was deconstruction itself.
She brings different architectural ideas of very different origins as we can see in her designs. She also
refers to it as:
“Culturally, one is made of many layers and history itself is to do with layers. The fact that Americans
have done a Neo-Classical building to me doesn’t mean that they have reincarnated history. Ideas filter
through and become superimposed on one another. What I find interesting is metropolitan life with the
constant collision between opposing activities. Many outcomes of observations and experiences were in
the Peak and after I designed it I began to think of it as a geological condition.”

Zaha Hadid – The Peak, Hong Kong Melnikov – Russian Pavilion, Paris

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 FRANK GEHRY
Clearly, the main idea of Gehry’s designs was Cubism as we can see how he remodeled his own house.
He said,
“...appear intact inside the new house, so that from the outside you would be aware always that the old
house was still there…some guy just wrapped it in new materials” … “I fantasized that when I closed
the box (the old house) there were ghosts … that would try to creep out, and this window was a cubist
ghost. I became fascinated by that and started making models of windows that looked like the ghost of
Cubism was trying to crawl out”

GEHRY – GEHRY HOUSE, GUGGENHEIM MUSEUM, BILBAO

POST-MODERNISM & DECONSTRUCTIVISM

James Stirling
James Stirling is a renowned Postmodernist Architect, but he shares equal concepts of Postmodernism
and Deconstructivism. He describes himself as a reunion of Some judge him as a “the monumental and
the informal, the tradition and high-technology”. These things are basically found in all of his projects.
In his designs we can relate them to any kinds of periods, Modern, Classical, Egyptian Columns and
even high-technology elements. He used multiple and diverse elements in his designs and his projects
were full of contrast but they also incorporates to the surrounding as well. He usually work with pure
forms and deconstruct them. So in short, Postmodernism has points in common with deconstruction.

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Stirling – Staatsgalerie, Stuttgart Stirling – Staatsgalerie, Stuttgart

ROBERT VENTURI
Robert Venturi had a parallel kind of “deconstructive thinking like Derrida when in contradiction and
complexity(1966), he refuted and analyzed large number of historical masterpieces of Architecture
starting from works of Michelangelo and said that Mies’ motto “less is more” was sometimes mistaken.
He said it was the other way around “Less is bore”. Venturi described buildings with conflicting
qualities, such as closed and yet open quality of Le Corbusier’s Villa Shodan. Another thing between
Deconstruction and Venturi was found in attack that was also mounted in Complexity and Contradiction
on “transparency” which is very important to the Modern Movement. According to modernism,
buildings had to communicate the author’s intentions. According to venturi, it was important that
building were transparent, that one could see from outside to inside. And he also said that Buildings
should be designed in such a manner that by seeing a building the viewer could understand the structure
and space.

Stirling – Staatsgalerie, Stuttgart Stirling – Staatsgalerie, Stuttgart

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Venturi – Ghost frames, Filadelfia Influence on Art

DESIGN CHARACTERISTICS

Deconstructivism is characterized by manipulation of surface, non-rectilinear shapes which dislocate

and distort architectural conventions that concern envelope and structure. It juxtaposes elements that
contradict each other in order to challenge ideas of harmony, continuity and even stability! In other
words, deconstructivism challenges all styles of building design. However, it is really no more than a
series of postmodernist "impulses" other than coherent movement, or consistent design style.

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 CLASSIFICATION

LAYERING

Layering is based on Fragmenting basic volumes into horizontal and vertical planes which make new
and different layers.

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 NOTABLE ARCHITECTS
Richard Meier- The Getty Centre, California, U.S.A.

The Getty Centre was completed in 1997, Richard Meier’s program brings seven components of Getty
Trust into coherent unity, while also maintaining their individual identities. The layout establishes
dialogue between angle of intersection and number of curvilinear forms that are largely derived from
contours of site inflected by Freeway, metropolitan grid and natural topography; overall parts relate to
both Santa Monica Mountains and City of Los Angeles.

Lines: Straight parallel lines & Arch. Corners: Right Angle.

The Getty Centre, California, U.S.A.

Original Basic Volume Appearance Articulation- through relation between layers & Masses.
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 Openings- by Addition and Subtraction.

Burda Museum, Germany- By Richard Meier

International Centre for Possibility Thinking, USA(By Richard Meier)

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 House III, Connecticut, USA

ANGULAR
It consists of complex composition with Acute angles of hybrid volumes.

NOTABLE ARCHITECT
Daniel Libeskind-Denver Art Museum, Colorado, U.S.A

"The amazing growth and vitality of Denver -- from its foundation to present inspires form of new
museum. It is coupled with magnificent topography with breathtaking views of sky and Rocky
Mountains, dialogue between boldness of construction and romanticism of landscape creates different
and unique place in the world. The bold engagement of public in forging their own cultural, urban and
spirited destiny is that would strike someone upon touching soil of Colorado.

One of main challenge of building the Denver Art Museum was to work and respond to extraordinary
range of changes in coloration, atmospheric effects, temperature, weather conditions and most
importantly light.

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Lines: Almost Straight Non-parallel lines. Corners: Acute angles.

Articulation Opening: Mainly through Subtraction

Appearance of Original Basic Volumes: Disappear.

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 EXAMPLES

Pallazo Delle’Dizia, Italy. Royal Ontario, Museum (By Daniel)

The Villa, Libeskind Signature Series The Deep Aquarium- Hull, UK.

ORGANIC
Consists of complex sculptured volumes with wavy lines.

NOTABLE ARCHITECT
Zaha Hadid-Heydar Aliyev Centre, Baku, Azerbaijan

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The design of this Center establishes a fluid and continuous relationship between the building’s interior
and its surrounding plaza. The plaza, as the ground surface is accessible to all the people as part
of Baku’s urban fabric. It rises to envelop a public interior space and define sequence of event spaces
dedicated to collective celebration of traditional Azeri culture. Elaborate formations as bifurcations,
undulations, inflections, and folds modify plaza’s surface into an architectural landscape that performs
multitude of functions like embracing, directing and welcoming visitors through different levels of
interior. With this gesture, building blurs conventional differentiation among urban landscape and
architectural object, urban plaza and building envelope, ground and figure, exterior and interior.

Lines: Curvy lines Corners: Almost no corners

Appearance of Original Basic Volumes: Articulation: Sculpturing

Disappear.

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Openings: Mainly By Subtraction Galaxy Soho, Beijing, China

Design Museum Holon, Israel. Mix use Building, Serbia

Interfaith Chapel, Florida Dalian Planning Museum, China

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 DESIGN CHARACTERISTICS – Chaos
Consists of variety of lines and angles with integrated composition of hybrid volumes.

Besides fragmentation, Deconstructivism often manipulates the surface skin of structure and creates by
shapes that are non-rectilinear which appear to dislocate elements of architecture. The finished visual
appearance is characterized by controlled chaos and unpredictability.

NOTABLE ARCHITECT
Frank Gehry-Guggenheim Museum

Lines: Both Straight & Curvy lines. Corners: Both Right &Acute angles & curves.

Appearance of Original Basic Volumes: Disappear . Articulation

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 Openings: by Subtraction & Addition.

Vitra Design Museum, Germany. The Lou Ruvo Brain Institute, USA.

CONCLUSION
Deconstruction is not as it sounds. It is a mixture of simple and complex forms
 Deconstruction is architecture of dislocation, deviation, deflection, disintegration, disruption
rather than of decay, disintegration or decomposition. It displays structure instead of destroying
it.
 “In Architecture deconstruction is about arbitrariness, the criticism of a specific idea through
analysis of elements that present that specific idea.”
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 Most of buildings of deconstruction are not guided by any principles that are philosophical, but
are simply a continuance in the mode of earlier artistic methods, they are controlled by sense of
diffidence.
 Deconstructionists forgot all about traditional rules of harmony and composition, and replaced
them with organization that is based on breaking the traditional elements.
 In deconstruction, there is trial of achieving singularity and destroying the center. Basic theory of
Deconstruction is not based on unity but it is concerned with difference. The form becomes no
longer pure, it becomes contaminated.
 Deconstruction does not agree with the both physical and psychological satisfaction of
communities of the Eastern societies.
 “Deconstruction has nothing to do with style; it has to do with ideology.”. The architecture of
deconstruction does not have a specific meaning that is inherent to its nature.
 “A Deconstructive, anti-social architecture has as great a right to exist as the same tradition in
art, literature and philosophy”.

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 REFERENCES
1-Deconstructivism: Translation From Philosophy to Architecture
Article · January 2015
DOI: 10.3968/7240
2- TESIS DI LAUREA
Deconstruction as a reaction against rational Modernism
Relatore: Prof. Piergiorgio Tosoni
Correlatore: Prof.ssa Liliana Bonvechi

3-
4- An Analytical Study of Deconstructivism and
Parametricism: Through the work of Architects
Poonam Khan1 and Brishbhanlali Raghuwanshi2
School of Planning and Architecture, MANIT Campus, Bhopal, (M.P.), India
5- Deconstruction in architecture and the negative response of eastern societies
Dr. Walid Abdel Moneim
Faculty of Engineering – Cairo University
6- Deconstructivism: It’s Paramountcy in Architecture
Himadri Shastri-Student
School of Architecture, IPS Academy, Indore
7- Deconstructivist architecture
Philip Johnson and Mark Wigley
Author-Johnson, Philip, 1906-2005
8- Nikos A. Sa lingaros-Anti-architecture and deconstruction
Fourth Edition

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 BIBLIOGRAPHY

https://www.academia.edu/9641164/Deconstructivism_style_Follies_and_founders
http://www.visual-arts-cork.com/architecture/deconstructivism.htm
https://oss.adm.ntu.edu.sg/hyunjae001/697-2/
http://yostevo.com/sites/decon/#
https://www.historiasztuki.com.pl/kodowane/003-02-04-ARCHWSP-DEKONSTRUKCJA-eng.php
https://www.academia.edu/14903601/Deconstructivism_Translation_From_Philosophy_to_Architecture
https://study.com/academy/lesson/frank-gehry-deconstructivist-architecture.html
https://www.atlasobscura.com/places/frank-gehry-residence

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