Journal articles: 'Architectural deconstructivism'

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Proudfoot, Peter R. "Deconstructivism and Architectural Science." Architectural Science Review 34, no. 2 (June 1991): 55–63. http://dx.doi.org/10.1080/00038628.1991.9696700.

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Sharapov, Ivan A. "THE ORNAMENT CONCEPT IN THE MANIFESTOS OF THE ARCHITECT B. TSCHUMI." Articult, no. 1 (2021): 32–42. http://dx.doi.org/10.28995/2227-6165-2021-1-32-42.

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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.

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Hu, Yin An, Yong Ping Wang, and Yun Xue. "Influence on Design Education by the Architectural Trend of Deconstructivism." Applied Mechanics and Materials 638-640 (September 2014): 2222–25. http://dx.doi.org/10.4028/www.scientific.net/amm.638-640.2222.

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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.

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Charalambides, Jason E. "Rediscovering the essence in a classical order through analysis and deconstruction." Archnet-IJAR: International Journal of Architectural Research 13, no. 1 (March 18, 2019): 218–36. http://dx.doi.org/10.1108/arch-12-2018-0031.

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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.

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K., Kramarchuk, and Chelombitko O. "SIMILARITY OF GRAMMARS OF ARCHITECTURAL SPACE IN CANONICAL ICONS AND THE ARCHITECTURE OF DECONSTRUCTIVISM." Architectural Studies 5, no. 1 (February 2019): 18–26. http://dx.doi.org/10.23939/as2019.01.018.

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Galkina, Marina V. "Unrealized Architectural Projects of the 1920s: The Value of Constructivism Ideas." Observatory of Culture 16, no. 1 (March 26, 2019): 50–61. http://dx.doi.org/10.25281/2072-3156-2019-16-1-50-61.

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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.

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Tošić, Jovana. "Deconstruction in Architecture – Continuous Translation through an Open Project." AM Journal of Art and Media Studies, no. 12 (April 15, 2017): 99. http://dx.doi.org/10.25038/am.v0i12.170.

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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.

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Chetail, Vincent. "The Architecture of International Migration Law: A Deconstructivist Design of Complexity and Contradiction." AJIL Unbound 111 (2017): 18–23. http://dx.doi.org/10.1017/aju.2017.11.

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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.

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Sulbarán Sandoval, Joely Ariagny. "El fractal como paradigma arquitectónico: deconstrucción vs lenguaje de patrones vivientes." Procesos Urbanos 3 (December 1, 2016): 79–88. http://dx.doi.org/10.21892/2422085x.268.

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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.

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DERIABINA, О. O. "“THE POETRY OF BREAKING”: THE ARCHITECTURE OF THE MUSEUM IN THE PROJECTS OF DANIEL LIBESKIND." Ukrainian Journal of Civil Engineering and Architecture, no. 1 (June 24, 2021): 52–57. http://dx.doi.org/10.30838/j.bpsacea.2312.230221.52.717.

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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.

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Jha, Shruti. "Expression of Deconstructivism in Museum Architecture." International Journal for Research in Applied Science and Engineering Technology 9, no. 3 (March 31, 2021): 178–84. http://dx.doi.org/10.22214/ijraset.2021.33195.

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Clement Gatwaza, Olivier, and Xin CAO. "Deconstructivism: Richness or Chaos to Postmodern Architecture." International Journal of Sciences 3, no. 08 (2017): 28–33. http://dx.doi.org/10.18483/ijsci.1364.

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Barsoum*, John. "Deconstructivism in Philosophy, Architecture, and Reusability Contribution." International Journal of Emerging Science and Engineering 6, no. 12 (February 28, 2021): 1–5. http://dx.doi.org/10.35940/ijese.l24900.0261221.

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Interest in philosophy and the humanities increased after the Second World War, especially in the West, as the critical movement began to reconsider the Western intellectual and philosophical heritage, and emerged approaches known as” postmodernism“, as critical foundations of Western cultural thought, and a product of that cultural and cognitive movement known as” postmodernism"; the concept of postmodernism, which is central This term is associated with a very diverse group that is rarely associated with each other with common things. The idea of postmodernism appears in a critique of the literary and philosophical trends on which modernism was based, and some theorists and philosophers believe that postmodernism is closely related to the social and political transformations that took place in industrial societies such as the postindustrial or knowledge society. Deconstruction is important critical movement as well as controversial, and no theory in literary criticism has provoked waves of admiration and created a state of aversion and resentment as well, as deconstruction has done in contemporary literary thought. Deconstruction emerged in the 1960s as a reaction to structuralism, the dominance of language, the centralization of the mind, and the dominance of linguistics over all fields of knowledge, and from the 1970s deconstruction became a literary critical methodology, and a mechanism for evaluating rhetoric and interpretation. Deconstructionism is mainly a critique of the structural proposition, which has been working to reveal the basic structures responsible for the most noticeable features of social and cultural interaction, since deconstructionism consistently negates the meaning in the text system and analyzes the margins, gaps, expectations, contradictions and conclusions within the texts, as formulations that contribute to the disclosure of the background of language and structure.

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IRIE, Toru. "EXHIBITION "DECONSTRUCTIVIST ARCHITECTURE" AND ITS BACKGROUND." Journal of Architecture and Planning (Transactions of AIJ) 67, no. 551 (2002): 329–34. http://dx.doi.org/10.3130/aija.67.329_1.

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Oržikauskas, Gytis. "SPATIAL NARRATIVE AND PERCEPTION OF SPACE IN HISTORICAL AND CONTEMPORARY ARCHITECTURAL COMPOSITIONS / ERDVINIS NARATYVAS IR FORMOS PERCEPCIJA ISTORINĖS IR ŠIUOLAIKINĖS ARCHITEKTŪROS KOMPOZICIJOSE." Mokslas - Lietuvos ateitis 5, no. 3 (October 21, 2013): 289–95. http://dx.doi.org/10.3846/mla.2013.47.

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highlighted in terms of architecture of Modernism. According to the theory of modern architecture and Geschtalt Psychology, elementary geometrical forms and main spatial features were underlined and accepted as anthropomorphic principle of architecture. Even today main spatial characteristics are accepted as a key principle of architectural composition. However, architects and critics of contemporary – post-modern and deconstructive – architecture emphasize the value of architectural narrative achieved not only through perception of space, but also by its relationship to social and cultural meanings and subtext of architecture. A narrative, as architectural feature, is realized in some compositions of the deconstructivist and postmodern architecture, both worldwide and in Lithuania. Santrauka Vienas svarbiausių istorinės architektūros bruožų – geometriškumas – buvo išryškintas modernizmo architektūros teorijoje. Remiantis geštaltpsichologijos teorija, elementarios geometrinės formos ir pagrindinės erdvinės charakteristikos suvoktos kaip antropomorfinis architektūros aspektas: net ir šiandien jos laikomos architektūros kompozicijos pagrindu. Nepaisant to, šiuolaikinės postmodernizmo ir dekonstruktyvizmo architektūros kūrėjai bei kritikai akcentuoja erdvinio naratyvo, kuriamo ne tik erdvės percepcijos, bet ir erdvės santykio su socialinėmis ir kultūrinėmis reikšmėmis, svarbą. Naratyvo, kaip architektūros kompozicinės ypatybės, naudojamos dekonstruktyvizmo ir postmodernizmo architektūros kompozicijose, pavyzdžių galime aptikti tiek užsienyje, tiek Lietuvoje.

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Guo, Yi Zhang. "Analysis on Building Sculpture Art from the Perspective of Deconstructivism." Applied Mechanics and Materials 357-360 (August 2013): 71–74. http://dx.doi.org/10.4028/www.scientific.net/amm.357-360.71.

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In order to make sculpture art into the architecture, based on the development of sculpture and architecture, the inner relations of sculpture and architecture was analyzed and compared. Combining with the practical construction scheme design, sculpture art was entered in the process of the interior space and elevation design, so that the architecture absorbed aesthetic elements of sculpture representation, and building forms breakthrough constraints of various kinds of building ontology factors. The results show that the sculpture language is used in architecture, building is more expressive and inclusive, so as to realize the perfect combination of art and practical function. The deconstructive architecture provides plenty of theory and practical basis for the sculpture of building.

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McLeod, Mary. "Architecture and Politics in the Reagan Era: From Postmodernism to Deconstructivism." Assemblage, no. 8 (February 1989): 22. http://dx.doi.org/10.2307/3171013.

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Costanzo, Michele. "Twenty Years After (Deconstructivism): An Interview with Bernard Tschumi." Architectural Design 79, no. 1 (January 2009): 24–29. http://dx.doi.org/10.1002/ad.804.

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Fuentes Farías, Francisco. "On the condition of urban and architectural design." Estoa, no. 15 (2019): 33–42. http://dx.doi.org/10.18537/est.v008.n015.a03.

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Postmodern architecture, across the 1960 and 1970 decades, was concerned to semiotic and meaning theories, including the existential and phenomenological philosophy. Build space’s perceptual experiences took relevance under new space-thinking view, shared by another same matter researching disciplines in a phenomenological frame, but constructivist, poststructuralist, and deconstructivist too, which drives the stream of architectonic and urban design forward to today. The importance of a revision and critique of key concepts such as identity or urban imaginaries, which refer to the point of view of the city's actors, is raised as an indispensable factor in understanding the "complex nature of design". The result is a change of theories and concepts to understand both the complex reality faced by design and one of its levels of reality: the significant dimension of urban actions, interactions, and imaginaries.

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Fujita, Haruhiko. "A history and geography of contemporary architecture." SAJ - Serbian Architectural Journal 11, no. 2 (2019): 307–20. http://dx.doi.org/10.5937/saj1902307f.

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History is the study of the past described in written documents. Prehistory is the history of human culture prior to written documents and post-history is the period in which the end of human development is reached. Contemporary history, a subset of modern history, describes the historical period from approximately 1945 to the present. Although the term 'contemporary history' has been in use since at least the early nineteenth century, its usage changed in the twentieth century. The continuous subduction process causes frequent earthquakes in Japan. The Japanese islands are also affected by typhoons and global warming. Although a country affected by numerous natural disasters, it recovers relatively quickly and is considered safe. The history of contemporary architecture is not related to natural disasters in the West. In Japan, however, it is related to earthquakes. The history of contemporary architecture in Japan should be written taking into account the phenomenon of earthquakes or at least the way in which contemporary architects have addressed this issue. After the peak of postmodernism and deconstructivism, some Japanese architects started holding traditional culture and nature in high regard, while discontinuing postmodern classicism. It is meaningful to pay attention to the history and geography of the contemporary architecture in Japan from this perspective.

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Tsiftsi, Xanthi. "Libeskind and the Holocaust Metanarrative; from Discourse to Architecture." Open Cultural Studies 1, no. 1 (November 27, 2017): 291–303. http://dx.doi.org/10.1515/culture-2017-0026.

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Abstract The Holocaust today resides between memory and postmemory. Initially, children of survivors and their contemporaries inherited a mediated past and bore full responsibility for disseminating their ancestors’ experiences. However, with the prevalence of the Holocaust metanarrative and its absolutist historicism, it was realised that when memory needs to cross generational boundaries, it needs to cross medial as well. The discourse was not enough; there was a need for broadening the narrative beyond the verbal using a powerful medium with the capacity to affect cognition and provoke emotions. This would be architecture, a storyteller by nature. In the 2000s, there was a noticeable boom in innovative Holocaust museums and memorials. Deconstructivist designs and symbolic forms constituted a new language that would meet the demands of local narratives, influence public opinion, and contribute to social change. This paper examines the potential of this transmediation and addresses critical issues-the importance of the experience, the role of empathy and intersubjectivity, the association of emotions with personal and symbolic experiences-and ethical challenges of the transmedia “migration” of a story. To accomplish this, it draws upon Daniel Libeskind, a Polish-born architect who has narrated different aspects of the Holocaust experience through his works.

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Aljubori, Luai, and Chaham Alalouch. "FINDING HARMONY IN CHAOS: THE ROLE OF THE GOLDEN RECTANGLE IN DECONSTRUCTIVE ARCHITECTURE." International Journal of Architectural Research: ArchNet-IJAR 12, no. 3 (November 4, 2018): 183. http://dx.doi.org/10.26687/archnet-ijar.v12i3.1696.

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It is generally accepted that compositions in deconstructive architecture are irrational, fragmented, and do not follow proportional systems or principles of architecture, such as harmony, continuity, and unity. These compositions are understood as the result of compilations of random geometries that are often non-rectilinear, distorted, and displaced. In spite of this, deconstructive architecture is widely accepted and practiced in the last couple of decades. On the other hand, geometrical proportions have long been considered as a self-guided method of aesthetically proven designs. This paper examines the hypothesis that the golden rectangle as a proportional system is manifested, to a varying degree, in deconstructive architecture. Methodologically, the hypothesis was tested using two inter-related methods. First, Tension Points of three famous examples of deconstructivist architecture were identified using the Delphi method by a panel of experts. Second, a matrix of displaced golden rectangles was used to test the degree of correspondence between the tension points of the case studies and the golden rectangle. It was found that deconstructive architecture is not a type of “free-form” architecture; and that conventional proportional systems and aesthetics laws, such as the golden ratio, are partially manifested in its compositions and forms, thus confirming the hypothesis. This paper argues that since architects are trained to capture proportional systems and design according to certain organizational and proportional principles, this would inevitably be consciously or unconsciously reflected on their designs.

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박하나. "Rethinking Deconstructivist Architecture with Gilles Deleuze’s Fold Theory: Focused on Frank O. Gehry, Rem Koolhaas, and Peter Eisenman." Journal of History of Modern Art ll, no. 25 (June 2009): 7–29. http://dx.doi.org/10.17057/kahoma.2009..25.001.

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Jung eun hee and Yoon Jae Eun. "A Study on the Expressive Characteristics of Différance shown in Zaha Hadid’s Work viewed based on the Relative Space-time Concept of Deconstructivist Architecture." Journal of Korea Intitute of Spatial Design 12, no. 2 (April 2017): 31–46. http://dx.doi.org/10.35216/kisd.2017.12.2.31.

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Байбурова, Римма Михайловна. "Deconstructivism as an architectural installation." Искусство Евразии, no. 2(9) (June 28, 2018). http://dx.doi.org/10.25712/astu.2518-7767.2018.02.007.

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В 1960-х годах стало очевидно, что модернизм себя исчерпал. С конца 1960-х годов мощно заявила о себе разноголосая массовая культура, в частности, реакцией на модернизм в архитектуре стал целый спектр различных стилей. Одним из них является деконструктивизм. В статье анализируются некоторые произведения ведущих мастеров этого стиля. При этом деконструктивизм сопоставляется с художественными инсталляциями и рассматривается как архитектурная инсталляция. И в том, и в другом случае для создания задуманных образов используются способы, ломающие стереотипы, но именно такой подход позволяет эти образы выявить. Появление художественных и архитектурных инсталляций становится понятным в свете работ постструктуралиста Ж. Деррида, предложившего метод деконструкции для обнаружения скрытых смыслов в литературных текстах. In the 1960s, it became evident that modernism had exhausted itself. Since the late 1960s, a discordant mass culture has brought powerfully up its claims. The response to modernism in architecture, in particular, has been an appearance of a whole range of different styles. One of them is deconstructivism. The article analyzes some works of the leading masters of this style. At the same time, deconstructivism is compared with art installations and is considered as an architectural installation. In both of them the methods which break the stereotypes are used to create the conceived images. It is such approach that allows to reveal these images. The appearance of artistic and architectural installations becomes intelligible in the light of the works of poststructuralist J. Derrida, who proposed a method of deconstruction to display hidden meanings in literary texts.

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Uzulena, Kristine, and Diana Apele. "INTEGRATION OF ELEMENTS OF INTERIOR STYLE DECONSTRUCTIVISM IN THE INTERWAR PERIOD BUILDING’S ARCHITECTURE." Arts and Music in Cultural Discourse. Proceedings of the International Scientific and Practical Conference, November 29, 2016, 209. http://dx.doi.org/10.17770/amcd2016.2210.

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The design of the building takes into account the trend of the architectural style of the time, the interior is also aged according to the main lines of a specific architectural style. Today we often face the situation when the designer wants to design the interior, appropriate to his/her time, and the architecture of the building meets another time period, another century. In such cases the most successful solution would be to find commonalities of architectural style and interior or to play on contrasts that ultimately would create a harmonious and attractive environment. The 21st century is commanded by computer system design; however, some of the buildings look like spaceships. And due to the fact that at the stage of development computer software, algorithms, and capabilities of the laser beams are used, they allow to organize and manipulate the shape of the building, different parts and create thus masterpieces of architectural art.Keeping up with the latest trends there are new styles and one of the most daring styles of the present is deconstruction. In this style the abstraction becomes extreme and works primarily according to the method of exaggeration of known motifs. Iraq-born British architect Zaha Hadid says the deconstruction is the true beginning of modern architecture, where a fascination with the scenery and feel the pride of is architects (Gimpels, 2011). It is relevant to combine too bold, contemporary style interior, for example, deconstruction, integrating it into the architecture of the building of the last century, in fact splicing „together two different worlds”. The aim of this article is to study the relevant in the 21st century interior style – deconstruction and to describe architectural style of the building designed in the interwar period in Riga, at Miera Street 82, as well as to recognize opportunities, how to integrate elements of deconstruction in this building. The authors used research methods based on the study of scientific literature and journalism, which reveal evidence of the appropriate century architecture. In the historical consideration of architectural styles content analysis is applied.

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"Deconstructivist architecture." Choice Reviews Online 26, no. 05 (January 1, 1989): 26–2545. http://dx.doi.org/10.5860/choice.26-2545.

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Oleinic, Svetlana. "STAGES OF FORMATION OF ARCHITECTURE OF CHISINAU ADMINISTRATIVE BUILDINGS." Journal of Engineering Science 28, no. 1 (April 2021). http://dx.doi.org/10.52326/jes.utm.2021.28(1).09.

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This article reveals the stages of formation of the architecture of administrative buildings in the city of Chisinau on the background of historical and economic transformations, that took place in Moldova from the late 19th to the early 21st century. The article reflects the results of analysis, which made it possible to identify nine periods of evolution of the architecture of administrative buildings from the provincial administration buildings to office and business centers. Based on specific examples, the article demonstrates the transformation of compositional techniques not only of this typological group, but also of public buildings in general, as well as stylistic changes in their architecture from eclecticism and neoclassicism, through modernism and postmodernism, to deconstructivism and high-tech.

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Journal articles on the topic 'Architectural deconstructivism'

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