Academic literature on the topic 'Architectural deconstructivism'

The article elevates the problem of studying ornamental forms in architecture. Ornament in the context of deconstructivism seems to be a paradoxical phenomenon, but, nevertheless, its presence is marked by the conceptual texts of deconstructivist architects. The ornament is studied as a formal aspect, the structure of which is able to involve, link and produce a number of essential characteristics that determine architectural shaping. Ornament is interconnected with form, semantic, communicative, and formal aspects that are integrated and localized in the concepts, form, and space of architecture. The research is based on the concepts, manifestations and theoretical research of the deconstructivist architect Bernard Tschumi. The research is aimed at expanding the subject field of ornamental form in the direction of conceptual and structural aspects. The phenomenon of the ornamental form is revealed as a multiplicity of abstract structural equivalents, where the connections between the subject and abstract aspects of the structure of the ornamental form are paradoxically actualized.

The ideology of deconstructivisim is a relatively new design style, and has a profound philosophical connotation. Deconstruction works usually pay attention to reflecting the diversity of buildings, and their design techniques are more exaggerated and weird to make people unable to understand their law. By the study of the deconstructive architects' design career, we can conclude as follow: the kind of trend has a great influence on architecture, also deeply affects modern design education; education philosophy of many famous architectural colleges in America and Europe with their students’ design works reflect design concept of the ideology. Southern California Institute of Architecture in Los Angeles is the homeland that deconstructive educators live up to their ideal. The design ideology of deconstruction has important status in the United States and far-reaching influence on American architectural education.

Purpose The purpose of this paper is to expose a classical Vitruvian archetype and subject it to the logic of deconstruction. The process engages two opposing camps and mindsets, and, through analysis, reaches a point that allows the reader to make assessments on how the archetype fulfills the perceived objectives of its time and how it can be assessed through a more contemporary methodology. Design/methodology/approach This study employs two methodologies in the analysis of an architectural model that became a reference point in the evolution of Western Architecture. A traditional approach similar to Ruskin’s Victorian-style analysis and criticism builds the study’s foundations. That is followed by the method of deconstructivism, challenging the traditional thought, resurfacing of the duality of every attribute assigned to the initial datum. Initially, the study brings to the proscenium the nature of this classical order as a sui generis archetype, defining the engendered properties that describe it. That is followed by an inverse process as applied by the twentieth-century deconstructivist movement. Findings The paper finds the dichotomy of perception of a classical archetype based upon the methods applied. Practical implications Recognition of a dichotomy of perception of a classical architectural archetype becomes overture toward a number of well-defined archetypes based on what could be considered Cartesian non-complex architectural archetypes. Originality/value This paper offers a Gestalt-based reflection on the nature of the Doric order.

The article is devoted to one of the most interesting topics: the ideological heritage of constructivism and evaluation of its value. The no­velty of the research is determined by the choice of its subject: unrealized projects of Soviet architects of the 1920s (I.I. Leonidov, K.S. Melnikov, V.A. Vesnin, A.A. Vesnin, L.A. Vesnin and N.A. Ladovsky) as a source of promising ideas for the architecture and design of the late 20th—early 21st century. The paper aims to assess the creative and artistic value of the unrealized projects of Soviet constructivists for the modern architectural design. The main result is the attempt to present a historical and conceptual overview of the origin and features of constructivism and rationalism as trends in urban planning. The 1920s, when the principles and trends in constructivist architecture were formed, became the time of development of a new production and architectural model. The combination of rationalist approach with utopian functionality of most of these projects was the reason for rejection of a truly constructivist trend in Soviet architecture in favor of the “Stalin Empire Style”, and later — deconstructivism. The problematics of constructivist solutions of the 1920s in the field of urban planning and environmental management largely determined the methodology of architectural space organization of the USSR cities in the 1930s, when the stan­dard of “industry oriented” socialist society became a priority. The author considers theoretical studies and scientific publications about the works of Soviet constructivist architects, gives examples of explicit translation of the principles of constructivism in the 21st century architecture, and makes an assumption about the relationship between the ideolo­gical heritage of Soviet constructivists and the artistic and creative process of modern architects and desig­ners (founders of high-tech style R. Piano, N. Foster; deconstructivists F. Gehry, Z. Hadid, D. Libeskind).The article concludes that the constructivist ima­ges and stylistics of the analyzed period, though not translated by modern designers and architects “directly”, become the basis for implementation of new conceptual solutions.

Jacques Derrida developed deconstruction as a way of thinking which constantly examines the nature and possibilities of meaning. The paper analyses spatial-economic, cultural and social context in which deconstructive discourse was translated into architectural discourse. Translation between these two discourses happens vice versa. Deconstructivism emphasizes the formal properties of architecture, like postmodernism, which is the subject of exploration by architects such as Coop Himmelblau, Frank Gehry, Eric Owen Moss, etc. According to some interpretations, the only solution for deconstruction in architectural work is incompleteness, an open project which represents never-ending deconstruction. There are different solutions for open projects, and the article highlights projects by architects mentioned above, which seems to manage to achieve continuous deconstruction in practice. Article received: December 23, 2016; Article accepted: January 18, 2017; Published online: April 20, 2017Original scholarly paperHow to cite this paper: Tošić, Jovana. "Deconstruction in Architecture – Continuous Translation through an Open Project." AM Journal of Art and Media Studies 20 (2017): 99-107.

International migration law (hereinafter IML) can be described and conceptualized as a deconstructivist architecture both literally and metaphorically. It is an architecture of fragmentation based on dissonance and asymmetry that questions the traditions of harmony, unity, and stability. Initiated by the French philosopher Jacques Derrida, the deconstructivist architectural movement distorts the conventional oppositions between form and function, center and margin, outside and inside.

Resumen: El presente estudio tiene como objetivo principal el estudio de la teoría fractal como nuevo paradigma en la Arquitectura, con el interés de fijar una posición reflexiva de la habitabilidad corporal-espacial de los seres humanos, cuyo comportamiento es de tipo fractal debido a la diversidad y a la incertidumbre que representa cada individuo. La metodología del estudio es de tipo documental no experimental, basada en la revisión de literatura concerniente al estudio de sus principales teorías, como son la teoría fractal, el deconstructivismo y el lenguaje de patrones vivientes, así como sus características, principales exponentes y teorías respectivas. La presente investigación considera que es importante la necesidad de que la arquitectura vuelva a su principio antropocéntrico, en el que el satisfacer las necesidades humanas sea su principal objetivo, para generar arquitectura más humana, al comprender y producir complejidad que responda a la diversidad cultural-corporal y permitir así un desarrollo emocional-corporal en los espacios. ___Palabras clave: Fractal, deconstructivismo, lenguaje de patrones vivos, habitabilidad. ___Abstract: The present study has as main objective the study of the fractal theory as a new paradigm in Architecture, with the interest of fixing a reflexive position of the physical-space habitability of human beings, whose behavior is fractal type due to the diversity and the uncertainty that each individual represents. The methodology of the study is non-experimental documentary, based on the literature review concerning the study of its main theories, such as fractal theory, deconstructivism and the language of living patterns, as well as its characteristics, main exponents and respective theories. The present research considers that it is important that architecture return to its anthropocentric principle, in which satisfying human needs is its main objective, to generate more human architecture, to understand and produce complexity that responds to cultural- Body and allow an emotional-corporal development in the spaces. ___Keywords: Fractal, deconstructivism, language of living patterns, habitability. ___Recibido: 27 de marzo de 2016. Aceptado: 16 de mayo de 2016.

Raising of problem. The study of the creativity of masters of architecture of the late XX − early XXI centuries, as a rule, occurs in line with the consideration of the characteristic features inherent in one or another author. Most of the scientific works state that the structure belongs to a certain trend, direction, style. But the choice of artistic means by the architect remains unclear, which is reflected in the discrepancy between the figurative solution and the purpose of the building in the perception of the consumer. Therefore, it is relevant to consider the creativity of architects, in whose works artistic and semantic characteristics acquire an organic fusion. Among such masters is Daniel Libeskind, who made the complex language of deconstructivism the only one possible for his architectural work. The article is devoted to the consideration of the origins of the artistic language of the outstanding architect on the example of his museum projects, which constitute a significant part of his work. Purpose is to analyze the characteristic features of the artistic language of Daniel Libeskind on the example of museum projects. The research was carried out on the material of the master's works dedicated to the national tragedy of the Jewish people − the war and the Holocaust. Conclusion. The circumstances of Daniel Libeskind’s personal life, as well as his passion for philosophy and music, had a great influence on his work. The Libeskind’s artistic language is very individual: within the framework of one project, he combines dissonance and harmony, the tragedy of war and the desire for a peaceful life. The compositional means the architect uses to embody these categories are: asymmetry, contradictory combinations of volumes and spaces, virtuoso interweaving of lines and planes. The artistic language of all Libeskind’s museum buildings has similarities that can be traced in each project, namely broken, non-parallel lines, pointed forms, invasions, contrast and script.

Thesis (BTech (Surface Design))Cape Peninsula University of Technology, 2010
The purpose of this research is to explore and create an understanding of how architectural structures. that adhere to deconstructivist design principles, can inspire the reconstruction of second-hand school fumiture and scrap metal. The planned pieces will continue to create an awareness of sustainability, by designing for reuse. These functional fumiture pieces of low tables and chairs will be handcrafted, appealing to a niche market, or specific spaces and they will act as expressions of contradiction. This research will act as an addition to a body of knowledge, where I will primarily focus on contradicting the traditional form and aesthetic of furniture design. I have decided to create these functional pieces to express a new possible direction of furniture design. The study context is a potential confrontational experience in that I want to challenge the conventional form and aesthetics of fumiture design. These pieces of fumiture will be placed in a niche market where they will exist as one-offs that are not produced for mass-consumption, as they will be individually hand-erafted. These days more and more people are attempting to live in a more sustainable manner by practicing to reduce our consumption of products and resources; reuse that which we have disposed of and forgotten as consumers and to recycle waste products and transform them into a feasible afterlife (Martin, 2010). The theory is focused on Sohaill Inayatullah's theory of "Futures Thinking", and this .theory is further supported by Victor Margolin's study of changing existing situations into preferred ones. The research further reflects on Jacques Derrida's theory of deconstruction, and this research is further supported by the theory of sustainability, by designing for reuse, with a focus on Ezio Manzini. Therefore, my research study is concerned with confronting and challenging the conformity that the form of furniture and its aesthetic adhere to.

Dans l’historiographie contemporaine, le déconstructivisme constitue un moment significatif d’une expression négative de la forme. En effet, la morphologie architecturale met en vue une recomposition à partir d’une décomposition : elle affirme et présente un processus de négation. Comment comprendre ces formes architecturales paradoxales qui expriment leur propre abolition et quelles sont les différentes manifestations de cette négativité morphologique dans l’architecture contemporaine ? En effet, bien que se défendant de toute attention à la forme, les architectures qualifiées de non-rhétoriques par l’historien J. Lucan (A. Lacaton & J.-P. Vassal, OFFICE Kersten Geers David Van Severen etc.), en cherchant précisément à faire disparaître toute expressivité morphologique, ne participent-elles pas d’une même visée que le déconstructivisme, lequel opère ce retrait de la forme de manière explicite ?Une première partie de cette recherche se propose d’explorer différentes approches d’architectes et de philosophes qui ont consacré une partie ou l’ensemble de leurs travaux à l’imagination et à la poïétique des formes : J. Lucan, D. Guibert, D. Raynaud, E. Cassirer, G. Bachelard, G. Durand. Dans une deuxième partie, dans le sillage de l’œuvre d’H. Maldiney qui établit un parallèle entre Art et existence, j’inscris ma recherche dans une herméneutique existentielle de ces formes négatives que j’ai nommées : antéformes. Mon hypothèse s’attache à proposer qu’au fondement négatif de notre rapport au monde répond une mise en forme négative des morphologies architecturales. En attaquant leur propre forme, c’est-à-dire le sens de la mise en forme proprement dite, les antéformes posent la question de ce qui fonde leur existence et y répondent en projetant dans l’objet une manière de se rapporter au monde. Certains concepteurs contemporains donnent à voir en partie et projettent à leur insu leur propre expérience vécue et désirante de la quête cherchante de forme qui les habite lors de la conception. Dans cette recherche, je suggère ainsi d’établir une analogie entre l’état poïétique et l’expression d’une forme négativée de l’œuvre. En outre, je m’emploie à repérer, proposer et articuler dans une architectonique des antéformes, différentes modalités de néantisation de la forme architecturale pouvant correspondre à des styles ou orientations de la présence proposés par le philosophe. Je développe ainsi des schèmes stylistiques fondés sur des tendances pulsionnelles ou qualités énergétiques tensives. Enfin, je propose que les antéformes expriment un ça-voir poïétique de la crise qui les fondent, les émotivent, et témoignent de cette épreuve surmontée. Il s’agit ici de réactiver la double implication originaire du verbe poïen : à la fois accomplissement et novation. Tout travail poïétique, en tant qu’il demeure porté par une exigence de singularité, implique l’imprévisibilité de l’objet qui émergera de son processus de conception. Les antéformes sont un appel à concevoir au sens plein du terme tout autant qu’un appel à un rapport propre (authentique) à l’existence ; lequel s’envisage, non comme un Moi ou un cogito qui se pose, mais comme le processus d’individuation d’un Soi. Celui-ci ne peut exister sans un travail incessant de désindividuation préalable dont les antéformes sont le témoignage. L’acte poïétique invite, non à choisir parmi des possibles préalables, mais précisément à engendrer sa propre forme d’être au monde
In contemporary historiography, deconstructivism is a significant moment in a negative expression of form. Indeed, architectural morphology puts forward a recomposition from a decomposition: it affirms and presents a process of negation. How can we understand these paradoxical architectural forms that express their own destruction? What are the different manifestations of this morphological negativity in contemporary architecture? Although defending themselves from any attention to forms, architectures described as non-rhetorical by the historian J. Lucan (A. Lacaton - J.-P. Vassal, OFFICE Kersten Geers David Van Severen, etc.), by seeking precisely to remove all morphological expressiveness, would they not participate, like deconstructivism, which removes forms explicitly? First, we explore different approaches of architects and philosophers, such as J. Lucan, D. Guibert, D. Raynaud, E. Cassirer, G. Bachelard, G. Durand, who devoted some or all of their work to the imagination and the poïetics. Second, in the spirit of H. Maldiney, which draws a parallel between Art and existence, I build my work on the existential hermeneutics of these negative forms, which I have named: antéformes. My hypothesis is that the negative basis of our relationship to the world responds to a negative shaping of architectural morphologies. By attacking their own form, that is to say the manner in which they are shaped, the antéformes question their own existence and respond to it by projecting into the object a way of relating to the world. Some contemporary designers partially reveal and project their own experience of searching for the form, that drives them during conception.In this research, I suggest an analogy between the poietic state and the expression of a negative form of the work. Besides, I work to identify, propose and articulate in an architectonic of the antéformes, different aspects of the nothingness of the architectural form that may correspond to styles or orientations of presence proposed by philosophers. I thus develop stylistic schemes based on drive tendencies or tensile energy qualities. Finally, I propose that the antéformes express a poietic sense of crisis that melts them, emotes them, and testifies to this experience.The aim here is to reactivate the dual implication originating from the poien verb : at once accomplishment and novation. Any poetic work, as it remains driven by a requirement of singularity, implies the unpredictability of the object that will emerge from its design process. The antéformes are a call to conceive in the full sense of the word as well as a call for a proper (authentic) relationship to existence; which sees itself, not as the emerge of the self or cogito, but as the process of individuation of a Self. This one can not exist without an incessant work of preliminary désindividuation for which antéformes are the testimony. The poietic act invites, not to choose among possible prerequisites, but precisely to generate its own form of being in the world

Includes bibliography. This thesis examines deconstructive writings, employing those strategies as a basis for re-forming approaches to architecture. A theory is posited that a distinction must be made between architecture as idiom and architecture as medium, expressed as a separation between architecture as a built form, Architecture the Idea and A(a)rchitecture as a new direction for framing an approach to its discourse.

The first part states the reasons for the disappearance of the body: the influence of modern technology, effects on self-perception and on the perception of reality. It questions how to deal with the shift from physical reality as reference of existence toward an infinite spectrum of virtual realities. The second part concerns a way of thinking - a fiction to explain the phenomena of disappearance - in drawing a parallel to recent thinking models in physics formulating the disappearance of matter. This shift of thinking is so fundamental that it literally reverses our notion of body and materiality. The thesis tries to imagine and to explain a reappearance of the body, the birth of the concrete out of the immaterial. The last part images and models necessary, ambiguous spaces in a world where inside and outside, weight and lightness, solid and immaterial are no longer clearly defined positions but zones, uncertainties, overlays.
Department of Architecture

Depuis la nuit des temps, les autoconstructions médinales tunisoises ont été, souvent brutalement, rasées par les autorités. L’avènement de la révolution de 2011 a revivifié leurs réapparitions. Les dynamiter une nouvelle fois aggraverait l’hémorragie de leurs renouvellements. Les « valoriser », les regarder autrement au lieu de s’en débarrasser, pourrait ouvrir de nouveaux horizons. Les considérer dans un comparatisme avec le Déconstructivisme nous conduirait certainement vers de fructueuses voies. Comparer ainsi la complexité, le chaos, la bizarrerie formelle et géométrique déployée par la déconstruction architecturale et les caractères formels des autoconstructions de la médina, constitue l’hypothèse de travail qui nous a guidé. La problématique développée dans la thèse consiste à porter un autre regard sur les autoconstructions de la médina de Tunis, en convoquant l’esthétique du Déconstructivisme afin de le discuter, voire de l’enrichir, d’une part, et, d’autre part, de promouvoir une autre approche de l’habitat spontané dans la ville de Tunis qui serait susceptible de fournir une autre lecture du phénomène de son émergence. L’une des ressemblances de l’autoconstruction au regard de la déconstruction architecturale tient à sa non-réglementation. Il en découle des espaces totalement bizarres, des plans déformés, des angles insolites, des lignes brisées, des asymétries télescopées... L’« idée » de déréglementation des autoconstructions transgresse nos habitudes de voir l’architecture. Elles nous semblent plutôt « vides de règles » que « déréglementées » et apparaissent complètement non académiques, non architecturales et pratiquement sans architectes qualifiés. Une autre ressemblance entre les (auto-) et (dé-)constructions réside dans l’ « idée » de ruine. Témoins de déshérence générale, de précarité et de souffrances, les autoconstructions incarnent le lieu d’une défragmentation chaotique de l’architecture. Planchers abandonnés, poteaux inachevés, façades hasardeusement superposées, revêtements anarchiquement combinés, constructions complètement ou partiellement ruinées... ; tous ces fréquents aspects esthétiques entretiennent de curieuses résonnances avec beaucoup de réalisations déconstructivistes. Une troisième ressemblance réside dans l’aspect d’incomplétude. En parcourant les ruelles de la médina, nous rencontrons des talus de sables, des sacs de ciments, des graviers, des briques, des pierres, des tôles ondulées, des déchets de bois, etc. Les autoconstructions médinale tunisoise sont-elles en « voie de déconstruction » ? Pourraient-elles inspirer les architectes déconstructivistes ? Pourrions-nous proposer que le Déconstructivisme constitue le meilleur appui théorique pouvant valoriser les aspects esthétiques des autoconstructions tunisoises ?
Since the beginning of time, Tunisian autoconstructions of the medina had been brutally razed by the governement. The advent of the 2011 revolution revived the desire for their reappearances. The dynamiting them again aggravates the hemorrhage of their renewals. "Speculating", "valuing" them and looking at them differently instead of getting rid of them will open up new opportunities. In the present work, the comparative method between autoconstruction and Deconstructivism would certainly lead us to fruitful paths. The complexity, the chaos, the formal and bizarre geometry deployed by the architectural deconstruction and, from the outset, by the autoconstruction of the medina seem to us the first hypotheses. In these brief lines, we shall be content to develop other aspects. The problematic developed in the thesis is to take another look at the autoconstruction of the medina of Tunis, summoning the aesthetics of Deconstructivism to discuss it, even to enrich it, on the one hand, and on the other hand , to promote another approach to spontaneous housing in the city of Tunis that would be likely to provide another reading of the phenomenon of its emergence. One of the resemblances that combines autoconstruction with deconstruction is its ability to be deregulated. The result is totally bizarre spaces, distorted planes, unusual angles, broken lines, telescoped asymmetries, etc. The "idea" of deregulation of autoconstructions transgresses our habits of seeing architecture. More than deregulation, they seem "empty of rules" and remain completely non-academic, non-architectural and practically without qualified architects. Another resemblance between the (auto-) and (de-)construction lies in the "idea" of ruin. Witnesses general desertion, precariousness and suffering, autoconstructions embody the place of a chaotic defragmentation of architecture. Abandoned floors, unfinished posts, randomly overlapping facades, anarchically combined facades, completely or partly ruined buildings, etc ; all these frequent and current aesthetic aspects have strange resemblances to many deconstructivist achievements. A third resemblance resides in its incomplete appearance. Just by walking through the narrow streets of the medina, we come across sandy slopes, bags of cement, gravel, bricks, stones, corrugated sheets, wood waste, etc. The result is interminably open chantier. It also results in excessive use of precarious, urgent, essential building materials. Are the Tunisian autoconstructions of the medina in a "way of deconstruction"? Could they inspire deconstructivist architects ? Could we propose that Deconstructivism constitutes the best theoretical support that can enhance the aesthetic aspects of Tunisian autoconstructions ?

I detta Kommunhus ville jag utforska den offentliga platsen. I Tensta, likt andra förorter, finns ofta en brist på utrymmen man kan umgås på. Det kan ofta lösas med små medel genom att skapa offentliga rum. Tomten präglas av en 4 meters höjdskillnad mellan Tenstagången och Taxingegränd. Tenstagången ligger överst och är en väg som fungerar som passage till centrum och torg. Taxingegränd är nedsjunket och är utrymmet där Tensta konsthall ligger tillsammans med ett litet torg och parkering. Jag hade en idé om att utjämna höjdskillnaden och använda taket på min byggnad till torg. Resultatet blev två offentliga utrymmen, ett på taket och en i den stora entréhallen. Byggnadens tak är böjt och har en organisk form som påminner om ett landskap. På undre plan finns en stor entréhall med stor takhöjd. Den stora hallen ska fungera som en öppen plats att vara på. En offentlig inomhusplats där man kan sitta och umgås, studera eller äta mat. Personalens kontor är i en kubformad byggnad och är upphöjd med pelare. Kontoren är enkla i sin utformning. Detta kanske tråkiga kontorslandskap kompenseras med en stor och ljus reträttzon.
In this City Hall I wanted to explore the public place. In Tensta, like other suburbs, there is often a shortage of gathering spaces. I wanted to solve this by turning my City Hall into a public space.The Tensta site is characterized by a 4-meter height difference between Tenstagången and Taxingegränd. Tenstagången is 4-meter above Taxingegränd and is a road that serves as a passage to the small city center. Taxingegränd is the space 4-meter below, where Tensta Konsthall is located along with a small square and parking lot. I choose to work with this height difference and incorporate it into the design. By creating a new space on top of my building I could increase the public space. The roof is used as a public square, which also works as a connection between Tenstagången and Taxingegränd. The roof of the building has an organic shape reminiscent of a landscape. On the lower level there is a large entrance hall with a high ceiling. This entrance hall should serve as a public indoor place where you can sit and socialize, study or eat food. There is also a reception with waiting room and visiting room for the grant applicants. The staff offices are in a cube-shaped building and is raised with pillars. The offices are simple in their design. This slightly mundane office landscape is contrasted by a large and bright retreat zone.

On the following pages are images of an architecture which pushes the limits of design. Conceived as an amalgamation of semiautonomous fragments, the thesis project strives to decompose into complete disarray. At the verge of structural (compositional) collapse, the building asks the question 'where does structure break down, and chaos begin?'. A table I have designed and built is an experiment in spontaneity, and questions the validity of traditional ways of building furniture. Building analysis drawings I have included at the end of the book are compositional exercises and have, from a graphic perspective, some of the density and formal complexity of the images of the thesis. While I have relied upon Deconstructionist terminology to describe the building represented, I must admit that the building is not truly Deconstructed. It is fragmented. Some visual continuity between design elements remains. If I were to produce a deconstructed building, I would have to go beyond playing formal games and question what forms signify. Then, perhaps, I could find alternative significations; I might also be able to make a new link between the signifier and the signified. I think I would be searching for a new conception of form, one free of convention, of precondition.
Master of Architecture