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DEconstructivist Architecture

Deconstructivism is a postmodern architectural style that emerged in the 1980s. It is characterized by a lack of symmetry, continuity, and harmony in building design. Notable deconstructivist architects like Daniel Liebeskind, Frank Gehry, and Rem Koolhas designed buildings that appear fragmented or distorted through manipulating geometric shapes and surface materials. Their goal was to "disassemble" traditional architecture and create a visual appearance of unpredictability and controlled chaos.

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202 views

DEconstructivist Architecture

Deconstructivism is a postmodern architectural style that emerged in the 1980s. It is characterized by a lack of symmetry, continuity, and harmony in building design. Notable deconstructivist architects like Daniel Liebeskind, Frank Gehry, and Rem Koolhas designed buildings that appear fragmented or distorted through manipulating geometric shapes and surface materials. Their goal was to "disassemble" traditional architecture and create a visual appearance of unpredictability and controlled chaos.

Uploaded by

cynthia matus
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Architectural innovation

breaking the rules.


DEconstructivist Architecture Image: Confluences Museum. Coop
Himmelb(au)
DEconstructivist
Architecture

• Deconstructivism is a movement
of postmodern architecture which appeared in
the 1980s. It gives the impression of the
fragmentation of the constructed building. It is
characterized by an absence of harmony,
continuity, or symmetry.
• As a Style, starts in 1988 with two main
exhibitions:
• Deconstuctivist Architecture. M.O.M.A. NY.
(Philip Jonson)
• First International Symposium on
Deconstruction. Tate Galery, London
• Image: Seattle Central Library,by OMA
DEconstructivist
Architecture
• The
term Deconstructivism in
contemporary architecture
is opposed to the ordered
rationality
of Modernism and Postmo
dernism. Deconstructivism
took a confrontational
stance to architectural
history, wanting to
"disassemble"
architecture.
• Image: Confluences Museum.
Coop Himmelb(au)
DEconstructivist
Architecture

• The deconstructivist reading of Complexity


and Contradiction is quite different. The
basic building was the subject of
problematics and intricacies in
deconstructivism, with no detachment for
ornament.
• Geometry was to deconstructivists what
ornament was to postmodernists, the
subject of complication, and this
complication of geometry was in turn,
applied to the functional, structural, and
spatial aspects of deconstructivist buildings.
• Image: Confluences Museum. Coop Himmelb(au)
• Rooftop remodeling
Falkenstrasse.
Coop
• Due to Context restrictions, the
Himmelbl(au) addition of the office was done
deconstructing the attic roof.
• Besides fragmentation,
deconstructivism often manipulates
the structure's surface skin and
creates by non-rectilinear shapes
DEconstructivist which appear to distort and
dislocate elements of architecture.
Architecture The finished visual appearance is
characterized by unpredictability and
controlled chaos.
• Bilbao Guggenhein Museum, Frank Gehry.
Deconstruction

• Incides on the idea of a


solid building, vulnerating
the sense of harmony.
• As a metaphore of today’s
world, it criticizes excesive
rationalism
• Eisenman persist in his
desire to create an
architecture That disturbs
• To the point of making the
users uncomfortable

ARONOF ART AND DESIGN CENTER


1988/1996
Peter Eisenman
ARONOF art and
Design Center (1996).
Peter Eissenman
• Since the design is rooted in a
broad conception of its place –
the physical setting, the existing
building, and the spirit of the
College – the initial challenge
was to locate the new building
in the site. The formal
vocabulary of the addition
derives from both the curves of
the local landscape and the
chevrons of the existing
building. The dynamic
relationship between these
forms organizes the space
between them.
• Eissenman architects.
ARONOF ART • We unified the four schools in a
single complex – the Aronoff Center
AND DESIGN – in order to optimize
interdisciplinary exchange and
CENTER alleviate the extreme overcrowding
that administrators, faculty, and
students had previously
1988/1996 experienced. The core of the new
building is the interior street that
Peter Eisenman unifies the existing ones.
• Eissenman architects
• Essentially, it consists of two buildings – a baroque old building,
Jewish Museum, the “Kollegienhaus” (that formerly housed the Berlin Museum) and a
new, deconstructivist-style building by Libeskind.
Berlin. Daniel • The existing building is tied to the new extension, through the underground,
thus preserving the contradictory autonomy of both the old and new
Liebeskind (2001) structures on the surface. The descent leads to three underground axial
routes, each of which tells a different story.
Jewish Museum,
Berlin. Daniel
Liebeskind
• The new design, was based on
three conceptions that formed
the museum’s foundation: first,
the impossibility of
understanding the history of
Berlin without understanding
the enormous intellectual,
economic and cultural
contribution made by the Jewish
citizens of Berlin, second, the
necessity to integrate physically
and spiritually the meaning of
the Holocaust into the
consciousness and memory of
the city of Berlin. Third, that only
through the acknowledgement
and incorporation of this erasure
and void of Jewish life in Berlin,
can the history of Berlin and
Europe have a human future.
Extension to the
Royal Ontario
Museum. (2007)
Daniel Liebeskind
• Libeskind created a structure of
organically interlocking prismatic
forms turning this important
corner of Toronto, and the entire
museum complex, into a
luminous beacon.
• The large entrance atrium, the
Gloria Hyacinth Chen Court,
separates the old historic
building from the new, providing
a nearly complete view of the
restored façades of the historic
buildings.
Marqués de Riscal
Vineyard Hotel,
Frank Gehry
• Speaking of the inspiration
behind the complexity of the
building, Gehry has explained
that his aim was to incorporate
the character of the region and
its famous vintage within the
building's exterior - the multi-
coloured ribbon-like titanium
facade reflecting the pink hues
of Rioja, the silver foil shielding
the cork, and the distinctive
gold mesh which adorns
all Marqués de Riscal bottles.
• Designed by OMA as a reinvention of the
skyscraper as a loop, construction on the
CCTV building began in 2004.

headquerters, • Rising from a common platform, two towers


lean towards each other and eventually
China.OMA merge in a perpendicular, 75- metre
cantilever. The design combines the entire
process of TV-making – formerly scattered in
Rem Koolhas various locations across the city – into a
loop of interconnected activities.

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