DE CONSTRUCTIVISM
•Development of POST MODERNISM that began in the late 1980s .
•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
dislocate some of the elements of architecture such as structure, the finished
visual appearance of buildings that exhibit the many deconstructivist “style” is
characterised by a stimulating unpredictability and a controlled chaos.
CHARACTERISTICS OF DE CONSTRUCTIVISM
•Explode architectural form into loose collection of related fragments.
•Destroy the dominance of the right angle and the cube by using the diagonal line.
•Transformation
•Recombining
• Rejected the idea of the perfect form for a particular activity and the familiar
relationship between certain forms.
GOALS OF DE CONSTRUCTIVISM
•They rejected the
postmodern
acceptance of the
historical reference, as
well as the idea of
ornament as an after-
thought or decoration.
•De constructivism came into public notice in 1982 after Parc de Villette
competition
BERNARD TSCHUMI
“MAKING THINGS FIT DOSEN’T MAKE SENSE ANYMORE”
• He used event of Montage as a technique for the organisation of program.
• For him Architecture is not just about space and form but also the events happening
inside.
He said “I would like people in general and not only architects, to understand
that architecture is not only what it looks like, but also what happens in it”
PARC DE LA VILLETTE
• An Architectural Competition organised in 1982.
• Organised to redevelop the abandoned land in Paris.
• Tschumi with the support of Peter Eisenman gave his idea.
• He discarded the idea of traditional mind set.
• 3 principles of organisation were used – Point, Line and Surface
LINE Lines are the main movement path
The repetitive nature of each folly, even
though each one is unique and different,
POINT allow for the visitors to retain a sense of
place though the large park.
SURFACE
RECTANGULAR GRIDS @ 120 M.
LINES
POINT
SURFACE
• Central to the design
were ideas about
the allocation of
space and form on
the site.
• These were based
on Tschumi’s use of
“programmatic
DISTRIBUTION OF SPACE FRAGMENTATION RE-COMPOSITION deconstruction”,
(BUILDING, OPEN AND which involved the
COVERED AREA) dismantling of the
conventional ideas
of Architecture.
• The lines of the park are composed of two major perpendicular axes running parallel
to the orthogonal grid. These form the major walkways throughout the park.
• A curved walkway threads its way through the park, intersecting the linear walks at
various points.
• The next formal element within the park is the geometrical surfaces. Some of them
are constructed of compacted earth and gravel while others are made from metal and
concrete.
• By making the lines the longest and most
continuous elements, they allow for the viewer to
be uninterrupted for longer periods of times.
• Spaces in park: Museum, Concert
halls, Live performance stage,
Theatres, playgrounds.
• 35 Architectural follies like city of
music, city of science and industry,
concert arena etc.
• ACCESS : Special attention was
given to the north and south sides
of the site since they are the
gateways to the city.
DANIEL LIBESKIND
• Daniel Libeskind has been practicing since 1970. He is a famed polish- American
Architect.
• His works are most concentrated in Europe and US and many are related to Jewish
culture and history.
• He believes in architecture as a form of “Communication”:
“For me, a building is a medium to tell a story. It’s not only about itself.”
• A building is not a repetition of a another building. The building is not really built the
same, we have seen before.
• Architecture is based on balance and balance is in inner ears not in the eye.
• As a deconstructivist, he often uses explicit metaphors of fragmentation in his works.
Design Characteristics
Layering Angular Curvilinear Chaos
• Much of Libeskind's work is instantly recognizable for its angular forms, intersecting
planes, and frequent use of diagonally-sliced windows.
Dresden’s Military History Imperial War museum,
Museum (2011) North (2001)
The Ascent at Roebling’s
Bridge (2008)
London Metropolitan
University, London (2004)
JEWISH MUSEUM BERLIN (2001)
• It was his first major work.
• One of the largest Jewish museum in Europe.
• In 3 buildings, two of which are specially designed for museum, two millennia of
German- Jewish history are on display.
CONCEPT
The building’s overall composition is that of a distorted Star of David, with a straight
“void” running through the length of the building.
DESIGN
• Consist of 2 buildings: A baroque building and a new deconstructivist- style building.
• The two buildings have no visible connection above ground. It has an underground
passage from the old building.
• In the basement, visitors first encounter three intersecting, slanting corridors named
the “Axes”:
o Continuity in German history (Leads to the permanent exhibition)
o Emigration form Germany (Connects to the garden of Exile)
o The Holocaust (Leads to the Holocaust Tower, a 24M. Tall empty silo)
Start of permanent ex.
Lvl 2
OLD BUILDING
Lvl 1
Ground Lvl
Lower Lvl
Lower lvl: Learning centre, Garden of Exile,
Holocaust Tower
GL : Memory Void
Lvl 2: Permanent Exibition
Lvl 1: Permanent Exibition
Old Building: Entrance, cloak room, café,
NEW BUILDING shops
• Voids are the empty spaces which rise vertically from the ground
floor of the building up to the roof, without artificial light and are
not heated and air-conditioned.
• Libeskind states that the straight line void cutting through the
museum “is the space of Berlin, because it refers to that which
can never be exhibited when it comes to Jewish Berlin history.
FALLEN LEAVES IN
THE VOID
In addition to the void,
the fragmentation
of the building is clear
in the jagged windows
and beams
VOID crisscrossing above
the
display spaces.
SECTION OF VOID
GARDEN OF EXILE
HOLOCAUST TOWER
CORRIDOR
PILLARS IN
GARDEN OF EXILE
PLAN GARDEN OF EXILE • The façades are made of
concrete with an outer
sheet metal.
• This layer is made of Zinc
and titanium panels placed
diagonally.
INTERIOR
FRANK OWEN GEHRY
FRANK O. GEHRY
•Frank Owen Gehry is a Canadian American, prize winning architect based in Los Angeles.
•Frank Gehry did very unique and challenging work in life.
•Mainly worked in de constructivism and hi-tech architecture.
•He is a legendary architect because of his design and different style.
“ARCHITECTURE IS A SMALL PIECE OF THIS HUMAN EQUATION, BUT FOR THOSE OF US
WHO PRACTICE IT, WE BELIEVE IN ITS POTENTIAL TO MAKE A DIFFERENCE, TO
ENLIGHTEN AND TO ENRICH THE HUMAN EXPERIENCE, TO PENETRATE THE BARRIERS
OF MISUNDERSTANDING AND PROVIDE A BEAUTIFUL CONTEXT FOR LIFE’S DRAMA.” -
FRANK O'GEHRY
BINOCULARS BUILDING
THE DANCING HOUSE
NEUER ZOLLHOF, DUSSELDORF IAC BUILDING, NEW YORK WALT DISNEY CONCERT HALL
Deconstructivism is the wave of absolutely new style, which believes in irregular shapes of its own
EXAMPLES AND WORKS
Gehry Tower in Hanover, Walt Disney Concert Hall in Los
Germany Angeles
•Gehry Tower is a nine-story building that •A trip to Los Angeles isn’t complete without
was commissioned by the city-owned visiting Walt Disney Concert Hall, one of the
Hanover Transport Services (üstra), for city's premier cultural destinations.
whom Gehry also designed a bus stop in the •The purity of the sound or the beauty of its
city. public garden, Walt Disney Concert Hall has
become one of the symbols of Los Angeles.
Weisman Art Museum in Minneapolis Peter B. Lewis Building in
•Opened in 1993, the Weisman Art Museum was Cleveland, Ohio
expanded in 2011, with an addition also designed by •Its construction in 2002,
Gehry that creates a seamless and fluid visitor •The building exterior is classic Gehry,
experience. with ribbons of stainless steel unfurling
from a brick base.
•The open interior is meant to encourage
cross disciplinary socializing.
BUILDING VIEW OF DAY
BUILDING VIEW OF NIGHT
WALT DISNEY CONCERT HALL IN LOS ANGELES
ABOUT: •WALT DISNEY CONCERT HALL AT 111 SOUTH GRAND AVENUE IN LOS ANGELES.
•THE PROJECT, FINALLY OPENED IN 24 OCTOBER 2003.
•THE FOURTH HALL OF THE LOS ANGELES MUSIC CENTER AND WAS DESIGNED BY
FRANK GEHRY.
EXTERIOR: •THE FIRST VIEW OF WALT DISNEY CONCERT HALL MOST PEOPLE SEE IS THE
CURVING STAINLESS STEEL SKIN OF BUILDING’S EXTERIOR.
•IN A COST-SAVING MOVE THE ORIGINALLY DESIGNED STONE EXTERIOR WAS
REPLACED WITH A LESS COSTLY METAL SKIN.
•MOST OF THE BUILDING EXTERIOR WAS DESIGNED WITH STAINLESS STEEL
GIVEN A MATTE FINISH.
EXTERIOR BUILDING
INTERIOR: •GEHRY’S TEAM VISUALIZED THE LOBBY AS TRANSPARENT, LIGHT-FILLED
“LIVING ROOM FOR THE CITY”, OPENING ON TO THE SIDEWALK.
•THE REFLECTIVE QUALITIES OF THE SURFACE WERE AMPLIFIED BY THE CONCAVE SECTION OF
THE FOUNDER’S ROOM WALLS.
•THE FOUNDERS ROOM AND CHILDREN’S AMPHITHEATER WERE DESIGNED WITH HIGHLY
POLISHED MIRROR-LIKE PANELS.
STAIR CASE INTERIOR HALL INTERIOR
FOUNDER’S ROOM INTERESTING FACTS
EXPERIENCE MUSIC PROJECT
•EXPERIENCE MUSIC PROJECT AND THE SCIENCE FICTION HALL OF FAME ARE TWO
MUSEUM JOIN AT THE HIP ONE HOSTS.
•FABRICATED STEEL FRAME CLAD WITH SHOTCRETE AND SHEET METAL PANELS.
•MUCH OF THE BUILDING MATERIAL IS EXPOSED IN THE BUILDING'S INTERIOR.
•THE MUSEUM IS SEAMLESSLY INTEGRATED INTO THE URBAN CONTEXT, UNFOLDING ITS
INTERCONNECTING SHAPES OF STONE.
PARTITION OF GALLERIES
• IT WAS IMMEDIATELY HAILED AS ONE OF THE WORLD’S MOST SPECTACULAR
BUILDINGS IN THE STYLE OF DECONSTRUCTIVISM ( ALTHOUGH GEHRY DOES NOT
ASSOCIATE HIMSELF WITH THAT ARCHITECTURAL MOVEMENT)
• THE MUSEUM IS SEAMLESSLY INTEGRATED INTO THE URBAN CONTEXT, UNFOLDING
ITS INTERCONNECTING SHAPES OF STONE , GLASS AND TITANIUM.
• IN A COST – SAVING MOVE THE ORIGINALLY DESIGNED STONE EXTERIOR WAS
REPLACED WITH A LESS COSTLY METAL SKIN.
• MOST OF THE BUILDING’S EXTERIOR WAS DESIGNED BY STAINLESS STEEL.
