DECONSTRUCTIVISM

• It Is A Development In POST-MODERNISM That Started In Late 1980s.

• It Views Architecture In Bits And Pieces.
• It Has No Visual Logic.
• Buildings May Appear To Be Made Of Abstract Forms.
• The Idea Was To Develop Buildings Which Show How Differently From Traditional Architectural
Conventions Buildings Can Be Built Without Loosing Their Utility And Still Complying With The
Fundamental Laws Of Physics. The Ideas Were Borrowed From The French Philosopher, Jacques
Derrida.
• Architects Involved - – Zaha Hadid - Bernhard Tschumi – Rem Koolhaas
 GENERAL CHARACTERISTICS OF DECONSTRUCTIVISM

• Explodes Architectural Form Into Loose Collections Of Related Fragments.

• Destroys The Dominance Of The Right Angle And The Cube By Using The Diagonal Line.
• Uses Ideas And Images From Russian Revolutionary Architecture And Design
• Provokes Shock, Uncertainty, Unease, Disquiet, Disruption, Distortion By Challenging Familiar Ideas
About Space, Order And Regularity In The Environment.
• Rejects The Idea Of The 'Perfect Form For A Particular Activity And Rejects The Familiar Relationship
Between Certain Forms And Certain Activities.
• Two Strains Of Modern Art, Minimalism And Cubism, Have Had An Influence On Deconstructivism.
Analytical Cubism Also Had Effect On Deconstructivism, As Forms And Content Are Dissected And
Viewed From Different Perspectives Simultaneously.
• It Also Often Shares With Minimalism Notions Of Conceptual Art.
 Books
OF GRAMMOTOLOG BY JACQUES
DERRIDA :
• DERRIDA THE COURSE OF THE WORK
HE DECONSTRUCTS THIS POSITION AS IT
APPEARS IN THE WORK OF SEVERAL
WRITERS, SHOWING THE MYRIAD
APORIAS AND
ELLIPSES TO WHICH THIS LEADS THEM.
THE DIALOGIC IMAGINATION:FOUR
ESSAY by MIKHAIL BAKHTIN:
• ESSAYS CONTAINED WITHIN THE
DIALOGIC IMAGINATION THAT BAKHTIN
INTRODUCES
THE CONCEPTS OF HETEROGLOSSIA,
DIALOGISM AND CHRONOTOPE,
MAKING A
SIGNIFICANT CONTRIBUTION TO THE
REALM OF LITERARY SCHOLARSHIP.
Decontructivism in Furniture
DECONSTRUCTED FURNITURE HAS
• ITS FRAME AND STRUCTURE ALL INTACT
• BUT IS MISSING THE FINISHED DETAILS, SUCH AS FABRIC AND TRIM.
• THE PURPOSE IS TO CELEBRATE BEAUTY OF THE FRAME
• WITHOUT DECORATIVE FABRIC, DECONSTRUCTED PIECES PUT THE FOCUS ON THE
FRAME.
 Zaha Hadid

• At The Age Of Eleven In Her Native Iraq, Zaha

Hadid (B. 1950) Decided To Be An Architect.
• "We Can't Carry On As Cake Decorators And
Do These Nostalgic Buildings That Have An
Intense Degree Of Cuteness; We Have To Take
On The Task Of Investigating Modernity," Hadid
Told An Interviewer.
• Her Style Is Deconstructivism (Breaking
Architecture, Displacement And Distortion,
Leaving The Vertical And The Horizontal, Using
Rotations On Small, Sharp Angles, Breaks Up
Structures Apparent Chaos)
• Using Light Volumes, Sharp, Angular Forms,
The Play Of Light And The Integration Of The
Buildings With The Landscape.
MUSEUM OF ART, XXI (MAXXI), ROME, ITALY
• MAXXI, ROME MAXXI Stands For 'Museo Nazionale Delle Arti
Del XXI Secolo' (National Museum Of 21st Century Art). The
Museum Will Become The Joint Home Of The MAXXI Arts And
MAXXI Architecture And Italy's First National Museum Solely
Dedicated To Contemporary Arts.

• MAXXI Was Also The Winner Of The RIBA Stirling Prize For The
Greatest Contribution To British Architecture In 2010

• The Maxxi's 27,000 Sq M Contain - In Addition To The Two

Museums - An Auditorium, A Library And Media Library, A
Bookshop, A Cafeteria, Temporary Exhibition Spaces, Various Open
Spaces For Live Events, Commercial Activities, Workshops And
Spaces Of Study And Recreation.
• The Building Is A Composition Of Bending Oblong Tubes,
Overlapping, Intersecting And Piling Over Each Other,
Resembling A Piece Of Massive Transport Infrastructure.

• It Acts As A Tie Between The Geometrical Elements Already

Present. It Is Built On The Site Of Old Army Barracks Between
The River Tiber And Via Guido Reni, The Centre Is Made Up Of
Spaces That Flow Freely And Unexpectedly Between Interior And
Exterior, Where Walls Twist To Become Floors Or Ceilings.

• The Building Absorbs The Landscape Structures, Dynamizes

Them And Gives Them Back To The Urban Environment.
• The Two Museums - MAXXI Art And MAXXI. Architecture –
Rotate Around A Large, Double Storey Atrium, The Point Of
Connection With The Permanent Collection Galleries And
Temporary Exhibition Spaces, The Auditorium, Reception
Area,Cafeteria And Bookshop. Outside, A Pedestrian Path
Follows The Shape Of The Building, Slipping Under Its
Cantilevered Volumes And Restoring An Urban Connection
Interrupted For Almost A Century By The Former Military
Structure.
• In Opposition To The Decisive Architectural Sign That Dominates The
Exterior Spaces And The Atrium, A More Sober Spatial Quality
Characterises The Exhibition Halls That Host The Collections Of The
Two Museums. A Combination Of Glass (Roof), Steel (Stairs And
Columns) And Concrete (Walls) Defines The Neutral Appearance Of
The Display Spaces, While Moveable Panels Ensure The Flexibility Of
Their Use.

• The Fluid And Sinuous Forms And The Variation And Interweaving Of
Different Levels, Assisted By The Modulated Use Of Natural Light -
Combine To Create A Highly Complex Spatial And Functional
Experience That Offers Continuously Different And Unexpected Views,
From The Interior Towards The Open Spaces.
 The architecture of MAXXI

Two principle architectural elements characterize the project:

• The concrete walls that define the exhibition galleries and
determine the interweaving of volumes; and the transparent
roof that modulates natural light.

• The roofing system complies with the highest standards

required for museums and is composed of integrated frames
and louvers with devices for filtering sunlight, artificial light
and environmental control.
• Galleries, Walkway and Materials Located around a large full height
space which gives access to the galleries dedicated to permanent
collections and temporary exhibitions, the auditorium, reception
services, cafeteria and bookshop. Outside, a pedestrian walkway follows
the outline of the building, restoring an urban link that has been
blocked for almost a century by the former military barracks in Rome.
Materials such as glass (roof), steel (stairs) and cement (walls) give the
exhibition spaces a neutral appearance, whilst mobile panels enable
curatorial flexibility and variety.

• The pedestrian path that crosses the campus follows the soft lines of the
museum, slipping under its cantilevered volumes. The interior of the
building presents visitors with a glimpse of numerous views and
openings that cross the structure: on the one hand protecting its
contents between its solid walls, on the other inviting visitors to enter
through its large glazed surfaces on the ground floor.
• Sinuous shape The fluid and sinuous shapes, the variety and
interweaving of spaces and the modulated use of natural light lead to a
spatial and functional framework of great complexity, offering
constantly changing and unexpected views from within the building and
outdoor spaces.
• MAXXI casts aside the idea of the "Closed" building in favour of a
broader dimension that extends the interior spaces into the exterior
spaces around the building, open to the entire neighbourhood.
 El Phaeno

Location: Wolfsburg, Germany. This being the biggest factory in Europe,

employing more than 50,000 people, is home to some 120,000 inhabitants.
And receives an average of a million and a half visitors a year. Located in
the city center, in an area between the commercial and office. A pass
around high speed trains, to the Mittelland canal bank.

Science Museum: In seeking to be more than the "city volkswagen" she was
commissioned to launch the idea of creating a museum dedicated to engage
children and young people to the world of physics, biology and chemistry,
in a didactic way. This offers a different option for visitors, with its
traditional theme park Autostadt and the Volkswagen museum. Receiving a
180mil visitors annually.
Urban Analysis The building appears in the landscape as a connecting
element between the two parts of the city, establishing a direct relationship
with the city and move through it. Multiple paths pedestrian and vehicle
motion is in the terrain place either inwards or through building composing
a displacement interconnection routes.
Landscape: It appears as a mysterious object that arouses curiosity and
discovery. The terrain passes underneath the volume as an artificial
landscape with rolling hills and valleys that stretch around the square. The
Center captures the surrounding landscape dynamics in elongated form off
the ground, in aventajamientos crashes and walls that give the illusion that
the building is moving. The public path leads bridge-like woodwormhole
inside the building, promoting interaction between the inside and outside
which enables, as in floor, a fusion of both.

Spaces: The building allows people to walk and climb down one part of the
pavement to get inside. In other places, the ground floor takes visitors to a
public square. Downstairs open broad prospects, exposing the context of
the city, between the concrete cones. The building does not tread the earth
completely. Much stands on a square with a series of large inverted conical
shapes with rounded corners that act as legs and give an effect of
weightlessness.
• Among Them Develop Various Functions As A Library,
Conference Rooms And An Auditorium For 250 People
• Techniques And Materials:
Concrete: The Roof Structure Is Steel. Facade: Has Only Large
Portions Of Concrete.
Glazed Areas: They Used Large Glass Shades. Furthermore
You Can See Skylights, Respecting The Diamond Pattern Was
Made In The Concrete. Were Used In Construction, 27 Cubic
Meters Of Concrete And More Than 3,500 Steel Beams.
• The "Cones” So Called Piles, Appointed By The Architect
As Cones, Which Are Widening As Rise. There Are 10 Of
Them And Each One Is Identified By Its Curvature And
Tilt. These Piles Are Inhabited With Windows, And Sliding
Glass Doors.
 Temporary tensile structures, Lilas Installations,
London, 2003

• The Serpentine Summer Party Installation is designed as an

open air space raising 5.5m that consists of three identical tensile
fabric structures or parasols arrayed around a central point. Each
parasol develops sculpturally from a small articulated base to a
large cantilevered diamond shape.
• Taking inspiration from complex natural geometries such as
flower petals and leaves, the three parasols overlap to create the
pavilion's main conceptual feature: complex symmetry,
interweaving all-the-while without touching, allowing air, light
and sound to travel through narrow gaps in a state that is both
open and likewise tending toward closure.
• Raised on a low platform located within an open field flanked by
a row of trees just South of the Serpentine Gallery, the
Serpentine Summer Party Pavilion is free standing and accessible
from all sides.
• Accommodating movement throughout the site, the Pavilion is
enigmatic. In the day it provides shading, while at night the
pavilion undergoes an energetic transformation into a source of
illumination. From continuous lighting around each base, light is
thrown up the fabric surfaces along very thin seams that radiate
about the parasols that act like corseting or the veining of flowers
revealing the geometric intricacy of the pavilion and highlighting
the overall architectural form in calligraphic arcs.
• SIZE/AREA: Height 5.5 m Width 22.5 m Length 22.5 m Total
Floor Area 310 m2
 Centre for Contemporary Art, Cincinnati
Cincinnati's Contemporary Arts Center is the first built project
in the United States In response to the metropolitan setting of
the building, Hadid developed the concept of the "urban
carpet", to draw in pedestrian traffic inherent to a downtown
area. The "urban carpet" is articulated by a seamless run of
concrete that begins outside the building, continues into the
mezzanine level and eventually curves upward at the far end of
the building behind the stairs.
ZHA Nordpark Cable Railway, Innsbruck, Austria
• In the project there are four stations.
• The scenic railway, which serves ski stations in the mountains above the
city. The concepts of “Shell & Shadow” generate each station's spatial
quality.
• A lightweight organic roof structure floats on top of a concrete plinth. The
fluid shapes and soft contours give the appearance of glacier movements.
• New production methods like CNC milling and thermoforming allow
computer generated designs to be made into buildings structure.
• Parts of the building look like cars, aeroplane wings, yachts. Large
cantilevers and small touch down areas give a floating appearance to the
shells.
 BERNHARD TSCHUMI

Decon follies (like Tschumi's pavilions at La Villettein Paris) seek to promote dislocation, not provide cosyshelter. Decon is
mostly paper architecture, in which many of designs published in magazines are clearly unbuildable: girders projecting at
weird angles into air, beams that pierce space like pins in a voodoo doll, and columns without function seem to violate laws
of gravity.

The designs create non-sensual sculptures for an irrational world. “Making things fit doesn't make sense anymore," the Swiss-born
Tschumi said.
 Principles
• Form follows fiction.
• Theory of timelessness.
• Red is not a colour
• Point, Line and Surface theory.

Six Concepts
• Technologies of Defamiliarization
• The Mediated “Metropolitan” shock
• De-structuring
• Superimposition
• Cross programming
• Events : The Turning point
Parc de la Villette, Folies, 1982-97
• Over 1 kilometer long in one direction Cand 700 meters wide in the
other La Villette appears as a multiple programmatic field,
containing in addition to the park, the large Museum of Science and
Industry, a City of Music, a Grande Hall for exhibitions and a rock
concert hall.

• The basis of the design is the superimposition of three independent

systems, namely: Points Lines Surfaces Superimposition: lines,
points, surfaces.
LIGNES/LINES
POINTS
SURFACES
Points
• The folies are placed according to a point-grid coordinate system at 120 meter intervals
throughout the park. The form of each is a basic 10 x 10 x 10 meter cube or three-story
construction of neutral space that can be transformed and elaborated according to
specific programmatic needs. Taken as a whole, the folies provide a common
denominator for all of the events generated by the park program.
• The repetition of folies is aimed at developing clear symbol for the park, a
recognizable identity.
• Their grid provides a comprehensive image or shape for the otherwise ill-defined
terrain.
• Similarly, the regularity of routes and positions makes orientation simple for those
unfamiliar with the area. An advantage of the point-grid system is that it provides for
the minimum adequate equipment of the urban park relative to the number of its
visitors.
Lines
• The Folie Grid Is Related To A Larger Coordinate Structure, An Orthogonal System
Of High-density Pedestrian Movement That Marks The Site With A Cross.
• The North-south Passage Or Coordinate Links The Two Paris Gates And Subway
Stations Of Porte De La Villette And Porte De Pantin, The East-west Coordinate
Joins Paris To Its Western Suburbs.
• A 5 Meter Wide, Open, Waved Covered Structure Runs The Length Of Both
Coordinates.
Surfaces
• The Park Surfaces Receive All Activities Requiring Large Expanses Of Horizontal
Space For Play, Sports And Exercise, Mass entertainment, Markets And So Forth.
• 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 Program Have Been Fulfilled, Are Composed Of Compacted Earth And Gravel.
 New Acropolis Museum, Athens
• A Movement Concept The Visitors Route Forms A Clear Three
dimensional Loop, Affording An Architectural Promenade With A Rich
Spatial Experience Extending From The Archaeological Excavations To
The Parthenon Marbles And Back Through The Roman Period.

• Movement In And Through Time Is A Crucial Dimension Of

Architecture, And Of This Museum In Particular.

• With Over 10,000 Visitors Daily, The Sequence Of Movements Through

The Museum Artifacts Is Conceived To Be Of Utmost Clarity.
ORGANISATION
• The Museum Is Conceived As A Base, A Middle
Zone And A Top, Taking Its Form From The
Archaeological Excavation Below And From The
Orientation Of The Top Floor Toward The
Parthenon.

• Tectonic & Programmatic Concept The Base Of The

Museum Design Contains An Entrance Lobby
Overlooking The Makriyianni Excavations As Well
As Temporary Exhibition Spaces, Lobby, Retail, And
All Support Facilities. The Base Hovers Over The
Excavation On More Than 100 Slender Concrete
Pillars.
• Post Parthenon-nom
TOP LEVEL PLAN
• The Top Is The Rectangular, Glass- Enclosed,
Skylight Parthenon Gallery, Over 7 Meters
High And With A Floor Space Of Over 2,050
Square Meters (22,100 Square Ft).

• It Is Shifted 23 Degrees From The Rest Of

The Building To Orient It Directly Toward
The Acropolis.

• The Building's Concrete Core, Which

Penetrates Upward Through All Levels,
Becomes The Surface On Which The Marble
Sculptures Of The Parthenon Frieze Are
Mounted. The Core Allows Natural Light To
Pass Down To The Caryatids.
MID-LEVEL PLAN
• The Middle (Which Is Trapezoidal In Plan) Is A Double-height
Space That Soars To 10 Meters (33 Feet), Accommodating The
Galleries From The Archaic To The Late Roman Period.

• A Mezzanine Features A Bar And Restaurant (With A Public

Terrace Looking Out Toward The Acropolis) And Multimedia
Space.
 REM KOOLHAAS: THE CULTURE OF
CONGESTION
• The Dutch Architect Rem Koolhaas (B.1944) Believes Architecture Should Be A Dangerous, Risk-taking Enterprise. His
Vision Of Dynamic Between An Architect And The Megalopolis Informs His Work.
• Koolhaas's Hallmark Is The Inventive Use Of Inexpensive Industrial Materials Like Plywood And Plastic.
• He Seeks To Preserve The Immediacy Of Improvised Sketching In His Inventive Designs.
• An Urbanist And Thinker As Well As Builder, Koolhaas Has A Hybrid Cast Of Mind That Puts Subversive Kinks Into
Modernist Forms.

Philosophy
• Interpretation of post-modern metabolism
• Idea that mega structures should emerge organically from the community and culture to meet contemporary needs
 Seattle Central Library, Seattle, USA, 2004
•The Seattle Central Library Redefines The Library As An Institution No Longer Exclusively
Dedicated To The Book, But As An Information Store Where All Potent Forms Of Media.

• Central Library For Seattle's 28-branch Library System, Including 33,700 Sq M Of Hq, Reading
Room, Book Spiral, Mixing Chamber, Meeting Platform, Living Room, Staff Floor, Children's
Collection, And Auditorium, And 4,600 Sq M Of Parking.
• Floors - 11+1 Basement Level

• From The Outside , You Can See A Large Glass Building , Straight Lines That Intersect. It Is
Articulated By Large Blocks At Different Levels Corresponding To The Library Premises .

• The " Spiral", Was A New Way Of Delivering Books To Customers Within A Library System.
Instead Of Books On Different Shelves And Floors, The Spiral Inclined Allowed A Continuous
Row Of Books That Make Them " Easy To Navigate".
Office For Metropolitan Architecture
Concept
• The Concept Involves The Reinvention Of The Library As An Access Point To Information Presented In A Variety Of
Media "The New Library Does Not Reinvent Or Modernize Traditional, They Are Just Packaged In A New Way,"
Explain In The OMA Study.
• Koolhaas Applied Its Interpretation Of The Feature Set And Architecture For The Project That The Building Would Be
Flexible For Future Expansions.
• Flexibility In Contemporary Libraries Is Conceived As The Creation Of Generic Floors On Which Almost Any Activity
Can Be Developed.
• This Form Of Flexibility, The Library Strangles The Very Attractions That Differentiate It From Other Information
Resources.
• Instead Of Its Current Ambiguous Flexibility, The Library Could Cultivate A More Refined Approach In Organizing
Spatial Compartments, Each Dedicated To And Equipped For Specific Services.
CCTV Headquarters, Beijing
• The Tower Redefines The Form Of The Skyscraper, With The Primary
System Comprised Of A Continuous Structural Tube Of Columns, Beams
And Braces Around The Entire Skin Of The Building.
• Rising From A Common Platform The Two Towers Lean Towards Each
Other And Eventually Merge In A Perpendicular, 75-meter Cantilever.
• Completion 2011 Height 234 M (768 Ft) Stories 49 Primary Use Office Area
473000.0 Sqm
• The CCTV Headquarters Combines The Entire Process Of Tv-making Into A
Loop Of Interconnected Activities. Two Structures Rise From A Common
Production Platform That Is Partly Underground.
• Each Has Its Own Character: One Is Dedicated To Broadcasting, The Second
To Services, Research And Education; They Join At The Top To Create A
Cantilevered Penthouse For The Television Management.
• Interconnected Activities
• The Design Of The CCTV Then Aims To Reinvent The Tall
Building By Creating A Truly Three-dimensional Experience; A
Canopy That Symbolically Embraces The Entire Population, As
Oppose To A Predictable Two-dimensional Tower That Points
Only Skywards. The
• Creation Of A Continuous Series Of Spaces And Activities Will
Promote The Building As A Giant Social Catalyst - A City In
Itself – Where 10,000 Employees Will Work And Thousands Of
Visitors Will Gain An Insight Into The Functioning Of All
Aspects Of A Television Station.
• The diagrid (triangulated steel tubes) provides maximum flexibility
for the bespoke planning of the interiors, since bracing is not
needed within the floor plates. This allows large studio spaces to be
laid out within the towers. It has enabled the Overhang section to
be constructed without the need for temporary propping, since the
braced skin provided stability as the steelwork was cantilevered out
from the towers. This type of structure has a high degree of
inherent robustness and redundancy, due to the potential for
adopting alternative load paths in the unlikely event a key
element's removal.
• The self-supporting hybrid facade structure features high
performance glass panels with a sun shading of 70 percent open
ceramic frit, creating the soft silver-grey color that gives the
building a surprisingly subtle presence in the Beijing skyline.
 PACES
Inside The Building, A Spiral Structure Provides A Continuous Surface With Coated
Side Shelves That Offer Different Themed Collections. These Ramps Are Supported
On Slender Columns Constructed Economically.

The Interior Is Divided Into 5 Distinguishable Blocks From The Outside :

1. The Parking Area

2. Public Reading Area
3. Café Deployed In The Large Atrium
4. Main Library Space ,And Reading Rooms And
5. Administration, All Them Culminates In A Terrace On The Roof.

The Third Floor Of The Library Is Called "Living Room ".

 'MAISON À BORDEAUX
A wealthy married couple with three children lived in a very old and beautiful
house in Bordeau in France. For many years this family was thinking about
building a new home, planning how it could be and wondering who the architect
would be. Suddenly, the husband had a car accident and almost lost his life. Now
he needs a wheelchair. The old beautiful house and the medieval city of
Bordeaux had now become a prison for him. The family started to think about
their new house again but this time in a very different way. The married couple
bought a hill with a panoramic view over the city and approached the Dutch
architect Rem Koolhaas in 1994. The husband explained to him: "Contrary to
what you might expect, I do not want a simple house. I want a complicated
house because it will determine my world."
 Instead Of Designing A House On One Floor Which Would Ease The Movements Of The Wheelchair, The Architect Surprised
Them With An Idea Of A House On Three Levels, One On Top Of Each Other. The Ground Floor, Halfcarved Into The Hill,
Accommodates The Kitchen And Television Room, And Leads To A Courtyard. The Bedrooms Of The Family Are On The Top
Floor, Built As A Dark Concrete Box. In The Middle Of These Two Levels Is The Living Room Made Of Glass Where One
Contemplates The Valley Of The River Garonne And Bordeaux's Clear Outline. The Wheelchair Has Access To These Levels By An
Elevator Platform That Is The Size Of A Room, And Is Actually A Well-equipped Office. Because Of Its Vertical Movements, The
Platform Becomes Part Of The Kitchen When It Is On The Ground Floor; Links With The Aluminium Floor On The Middle Level
And Creates A Relaxed Working Space In The Master Bedroom On The Top Floor. In The Same Way That The Wheelchair Can Be
Interpreted As An Extension Of The Body, The Elevator Platform, Created By The Architect, Is An Indispensable Part Of The
Handicapped Client. This Offers Him More Possibilities Of Mobility Than To Any Other Member Of The Familyonly He Has Access
To Spaces Like The Wine Cellar Or The Bookshelves Made Of Polycarbonate Which Span From The Ground Floor To The Top Of
The House, And Thus Respond To The Movement Of The Platform.
 Experiencing The House
• Koolhaas Designed A Complex House In Itself And Surpassed The
Conventional, In Every Detail. For Example, The Top Floor Rests On
Three Legs. One Of These Legs, A Cylinder That Includes The
Circular Staircase Of The House, Is Located Offcentre. Although This
Displacement Brings An Instability To The House, It Gains
Equilibrium By Placing A Steel Beam Over The House Which Pulls A
Cable In Tension. The First Question That The Visitor Asks Is: What
Happens If The Cord Is Cut? Koolhaas Has Created A Structure
Which, Equal To The Life Of The Client, Depends On A Cable.
• This Arrangement Provides The Middle Level With An
Uninterrupted View Over The Surrounding Landscape, And An
Effect That Is Intensified With The Highly Polished Finish Of The
Stainless Steel Cylinder Which Incorporates The Stairs, And Makes It
Disappear Into The Landscape. The Middle Level Is A Balcony
Where The Top Floor Floats Above. It Is A Glazed Space Which
Allows The Wheelchair To Confuse The Nature Outside With The
Interior Of The House. In Contrast, The Same Landscape Receives
Another Treatment From The Top Floor. The View Appears
Restricted And Predetermined, Framed By Circular Windows Placed
According To Whether One Stands, Sits Or Lays Down
 TADAO ANDO
• The Idea Of Stability Against The Dynamic Of Change And Volatility Against The Superficial Use Of Modernism
(Metabolism Was A Movement In The 1960s Which Proposed A New Urbanism Based On The City As An Organism
Requiring Change And Renewal.
• The Movement Saw Technology As An Extension To Humanity And Advocated The Use Of Pre-fabricated Plug-in
Units Or Capsules, Which Could Be Arranged Interchangeably On A Core Mega Structure, Facilitating The Changing
Needs Of The City.) Microcosmic Interiority And Territorial Delineation.
• Concept Of Creating ‘Shintai’
• Concept Of 'Engawa'(fort Worth Modern Art Museum)
• Ando's Use Of Long Corridors And Passageways, For Example, Can Be Traced To The Alley-like Spaces Among
Townhouses In Japan.
 AZUMA HOUSE, SUMIYOSHI, JAPAN

• This Territorial Articulation Is Exemplified By Ando's Sumiyoshi House (1975 -1976) Which Boxes Itself Against Its
Suburban Neighbours
• The Walls Of The House Wrap Around The Site Perimeter.
• All That Faces The Street Is A Blank Concrete Façade With A Single Door.
• The Interior Is Punctuated By An Open Court Which Contains The Only Connecting Path From One Room To
Another, Exposing The Inhabitants To The Natural Elements
• Built Between Medians,
• This Apartment Is Perched On A Lot Of 57.3 M2. The Total Square Footage Of 64.7 M2 Is Divided Into Three
Equal Sections: Two Floors And A Patio.
• This Box Of Concrete Occupies The Entire Site. The Building, Centripetal As Far As Its Organization, Has A
Tripartite Structure Centered Around An Uncovered Patio.
• The Reinforced Concrete Used In This House Is Presented As The Ornamentation For The Facade.
 Ando's definition of “vernacular”
• Ando Recognizes The Disjuncture Between The Traditional Japanese Way Of Life, And The Way Of
Life Introduced To Japan In The Post War Period. He Seeks To Justify His Departure From The
Vernacular.

• Thus, Ando Does Not Address Regionalism Through The Mere Simulation Of Traditional Timber
Construction Or The Use Of Evocative Domestic Elements Like The Shoji Screen Or The Tatami
Mat, Apparently Denying The Nostalgic Ethos Which Such Vernacular Elements Would Imply.

• Instead, Ando's Architecture Gives Rise To A Revitalized Japanese Feeling For The Interplay Of
Light, Material And Detail, Which Can Be Traced To The History Of Japanese Farmhouses (Minka)
Where Light Filtering Through Clerestories Produce Sharp Contrasts Of Light And Shade.
 ROKKO HOUSING
The Rokko Housing Project Is Characterized By The Steep 60 Degree Slope Of The Site
Located At The Foot Of Mt Rokko. Avoiding The Modernist Tabula Rasa Approach Of
Levelling The Site, Ando Chose To Situate His Building On The Severe Slopes To Make A
"Quiet Building Standing Quietly In Nature,” One That Preserves The Tectonic Quality
Of The Rugged Mountains.
"Direct Dialectical Relation With Nature," A Dialog With The Environment That Ando's
Architecture Embodies In The Articulation Of Structure Through The Changing Impact
Of Light And Terrain.
In Rokko Housing, These Passageways Were Intended To Be Activated By The
Interpenetration Of Public And Private Realms So That One Can Get A Sense Of The
Life In Each Housing Unit.

• The Houses Were Built With Strong Relationships Between Public And Private Spaces,
Through The Concept Of Public Traffic And Terraces, Where The Residents. In Turn,
Each Household Seeks To Reaffirm Its Own Individuality, Different Spaces,Terraces,
Views, And Relationships Between Them.
• Rokko I Based On A Grid Of Twenty Modules In Plant And Increase Of 5.80 X 4.80
Meters From The Sites That Are Organized.
• Rokko II Structured Around A Central Staircase And Contains 50 Homes Designed
On A Uniform Grid Of 5.20 Meters Behind.The Second Set Of Spaces Are Wider And
More Luxurious Than In The First Case. This Set Has An Indoor Pool.
• Rokko III Is L-shaped Built On Three Levels. It Has 174 Apartments, With Garden
Terrace On The Roof Of Each Home.
 FORT WORTH MODERN ART MUSEUM, TEXAS
• Concept Of Engawa
• Concept Of Territorial
Delineation.
• It Houses More That 2,600
Significant Works Of Modern And Contemporary International Art In It's 53,000 Square Feet
Of Gallery Space.
• The Museum Exemplifies It’s Simple Geometry, Incorporation Of The Natural Environment, And Very Minimal
Material Selections. Five Long, Flat-roofed Pavilions Appear To Float Atop The 1.5-acre Reflecting Pond.
• Constructed With Only Concrete, Steel, Aluminium, Glass And Granite, The Museum Is Perfectly Reflected In The
Surrounding Pond.
• By using glass as a wall, physically there is a barrier, a protection from the outside, but visually there is no boundary
between outside and inside. There is also the light that comes off the water through the glass that indicates a lack of
boundary and can make its presence felt on the wall.
• Light also became key in the design of the museum, with an emphasis on both diffused and reflected natural light.
Cantilevered cast-concrete roofs support linear skylights and clerestory windows, which accommodate natural light.
Five Y-shaped columns standing 40 feet high support the roof slabs, and have become a symbol of the museum.
 CRITICAL REGIONALISM
• The term 'Critical Regionalism' was first coined by Alexander Tzonis and Liane Lefaivre and
later more famously and pretentiously by Kenneth Frampton in “Towards a Critical
Regionalism : Six points of an architecture of resistance"

• According to Frampton, critical regionalism should adopt modern architecture critically for
its universal progressive qualities but at the same time should value responses particular to the
context. Emphasis should be on topography, climate, light, tectonic form rather than
scenography and the tactile sense rather than the visual.

• According to Tzonis and Lefaivre, critical regionalism need not directly draw from the
context, rather elements can be stripped of their context and used in strange rather than
familiar ways.

• Critical regionalism is different from Regionalism which tries to achieve a one-to-one

correspondence with vernacular architecture in a conscious way without consciously
partaking in the universal.

• It is considered a particular form of post-modern response in developing countries, not to be

confused with postmodernism as architectural style.
 ARCHITECTS INVOLVED
ARE

➢ Alvar aalto

➢ Raj Rewal

➢ Tadao Ando

➢ Charles Correa

➢ BV Doshi
BIBLOGRAPHY
https://www.britannica.com/topic/deconstruction
https://criticallegalthinking.com/2016/05/27/jacques
derrida deconstruction/
https://eisenmanarchitects.com/Il
Giardino Dei Passi Perduti 2005
https://www.widewalls.ch/magazine/deconstructivism
buildings/dancing house prague
https://www.designingbuildings.co.uk/wiki/CCTV_Headquarters
https://issuu.com/stephenandenmatten/docs/casestudy
http://www.designcurial.com/news/deconstructivist
architecture eight iconic buildings 4503184/5
https://www.gardenvisit.com/history_theory/library_online_ebooks/architecture_city_as_landscape/deconstructive
_reading_parc_de_la_villette
https://criticallegalthinking.com/2016/05/27/jacques
derrida deconstruction/