Deconstruction

Deconstructivism
From Wikipedia, the free encyclopedia

This article is about the architectural style or movement known as deconstructivism. For the philosophical idea, see deconstruction. For other uses, see deconstruction (disambiguation).

Libeskind's Imperial War Museum North in Manchester comprises three apparently intersecting curved volumes.

Deconstructivism in architecture, also called deconstruction, is a development of postmodern architecture that began in the late 1980s. It is 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 and envelope. The finished visual appearance of buildings that exhibit the many deconstructivist "styles" is characterised by a stimulating unpredictability and a controlled chaos.

Important events in the history of the deconstructivist movement include the 1982 Parc de la Villette architectural design competition (especially the entry from Jacques Derrida and Peter Eisenman[1] and Bernard Tschumi's winning entry), the Museum of Modern Art’s 1988 Deconstructivist Architecture exhibition in New York, organized by Philip Johnson and Mark Wigley, and the 1989 opening of the Wexner Center for the Arts in Columbus, designed by Peter Eisenman. 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, many of the architects who were associated with Deconstructivism have distanced themselves from the term. Nonetheless, the term has stuck and has now, in fact, come to embrace a general trend within contemporary architecture.

Originally, some of the architects known as Deconstructivists were influenced by the ideas of the French philosopher Jacques Derrida. Eisenman developed a personal relationship with Derrida, but even so his approach to architectural design was developed long before he became a Deconstructivist. For him Deconstructivism should be considered an extension of his interest in radical formalism. Some practitioners of deconstructivism were also influenced by the formal experimentation and geometric imbalances of Russian constructivism. There are additional references in deconstructivism to 20th-century movements: the modernism/postmodernism interplay, expressionism, cubism, minimalism and contemporary art. The attempt in deconstructivism throughout is to move architecture away from what its practitioners see as the constricting 'rules' of modernism such as "form follows function," "purity of form," and "truth to materials."



Deconstruction
From Wikipedia, the free encyclopedia


Deconstruction is a term used in philosophy, literary criticism, and the social sciences, popularised through its usage by Jacques Derrida in the 1960s[1].

Deconstruction involves the close reading of texts in order to demonstrate that, rather than being a unified whole, any given text has irreconcilably contradictory meanings. As J. Hillis Miller, an eminent American practitioner of deconstruction, has explained in an essay entitled "Stevens' Rock and Criticism as Cure" (1976), "Deconstruction is not a dismantling of the structure of a text, but a demonstration that it has already dismantled itself. Its apparently solid ground is no rock but thin air." Deconstruction defines text as something whose meaning is known only through difference. Language is arbitrary; truth claims and intentions of a text are undermined by its own contradictions; meaning is finally indeterminate. The purpose of deconstruction is that it allows you to see through the alleged stability of textual meaning; textual meaning is not finite; close attention to the play of language yields pleasure. Derrida developed the term "deconstruction" to engage with the phenomenology, structural linguistics, politics, aesthetics, feminism and literature of the 1960s, and the usage of the term has since expanded. Deconstructionism is also related to the critical tradition of hermeneutics as it treats interpretation and immanent critique as demonstrating contradictions already operating within the text.