Deconstructivism asserts the existence of opposing and
different meanings within what may be considered and established as unified. it aims to
deconstruct the established conventional forms/construct to reveal and question
their original motives and interests on which they are based.
De-construction of an established conventional
construction its deformation and fragmentation is the basis of this radical
attitude to form in architecture.
What is "Deconstructivisim"
(architectural style-movement)?
Deconstructivism 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 characterized by a stimulating
unpredictability and a controlled chaos.
Important Event in the History of the
Deconstructivist movement
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
Eisenmanand 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.
Misconception and Misunderstanding
According to statements by Bernard Tschumi regarding his
involvement in the 1988 exhibition, as well as the competition entry for the
Parc de la Villette, he stated that the label of a movement was applied out of
context and without understanding of their basic concepts and ideas. Tschumi
believed that Deconstructivism was not a movement, but simply a move against
the practice of Postmodernism, which he said involved "making doric temple
forms out of plywood". It is believed that the misunderstanding was
developed out of the radical departure that the projects took from the movement
of Postmodernism.
Libeskind's Imperial War
Museum North in Manchester.
A prime example of deconstructivist architecture comprisingthree fragmented, intersecting curved volumes which
symbolise the destruction of war.
Caharacteristics of deconstructivist
buildings:
The deconstructivist reading of Complexity and Contradiction is telling that the basic building was
the subject of problematics and intricacies in deconstructivism, with no
detachment for ornament. Rather than separating ornament and function, like
postmodernists such as Venturi, the functional aspects of buildings were called
into question. 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. One example of deconstructivist complexity is Frank Gehry's
Vitra Design Museum in Weil-am-Rhein, which takes the typical unadorned white
cube of modernist art
galleries and deconstructs
it, using geometries reminiscent of cubism and abstract expressionism. This
subverts the functional aspects of modernist simplicity while taking modernism,
particularly the international style, of which its white stucco skin is
reminiscent, as a starting point. Another example of the deconstructivist
reading of Complexity and Contradiction is Peter
Eisenman's Wexner Center for the Arts. The Wexner
Center takes the archetypal form of the castle, which it
then imbues with complexity in a series of cuts and fragmentations. A
three-dimensional grid runs somewhat arbitrarily through the building. The
grid, as a reference to modernism, of which it is an accoutrement, collides
with the medieval antiquity of a castle. Some of the grid's columns
intentionally don't reach the ground, hovering over stairways creating a sense
of neurotic unease and contradicting the structural purpose of the column. The Wexner
Center deconstructs the archetype of the castle and renders its spaces and
structure with conflict and difference.
Vitra Design Museum by Frank Gehry,Weil am
Rhein
Deconstructivist
philosophy
The main channel from deconstructivist
philosophy to architectural theory was through the philosopher Jacques
Derrida's influence with Peter
Eisenman. Eisenman drew some philosophical bases from the literary movement Deconstruction,
and collaborated directly with Derrida on projects including an entry for the Parc de la Villette competition, documented in Chora l Works. Both Derrida and
Eisenman, as well as Daniel
Libeskind[4] were concerned with the "metaphysics of presence," and this is
the main subject of deconstructivist philosophy in architecture theory. The
presupposition is that architecture is a language capable of communicating
meaning and of receiving treatments by methods of linguistic philosophy. The
dialectic of presence and absence, or solid and void occurs in much of
Eisenman's projects, both built and unbuilt. Both Derrida and Eisenman believe
that the locus, or place of presence, is architecture, and the same dialectic
of presence and absence is found in construction and deconstructivism.
According to Derrida, readings of texts are
best carried out when working with classical narrative structures. Any
architectural deconstructivism requires the existence of a particular
archetypalconstruction, a strongly-established conventional expectation
to play flexibly against The
design of Frank Gehry’s
own Santa
Monica residence, (from
1978), has been cited as a prototypical deconstructivist building. His starting
point was a prototypical suburban house embodied with a typical set of intended
social meanings. Gehry altered its massing, spatial envelopes, planes and other
expectations in a playful subversion, an act of
"de"construction"
In addition to Derrida's concepts of the
metaphysics of presence and deconstructivism, his notions of trace and erasure,
embodied in his philosophy of writing and arche-writing[9] found their way into deconstructivist memorials.
Daniel Libeskind envisioned many of his early projects as a form of writing or
discourse on writing and often works with a form of concrete
poetry. He made architectural sculptures out of books and often coated the
models in texts, openly making his architecture refer to writing. The notions
of trace and erasure were taken up by Libeskind in essays and in his project
for the Jewish Museum Berlin. The museum is conceived
as a trace of the erasure of the Holocaust,
intended to make its subject legible and poignant. Memorials such as Maya Lin's Vietnam Veterans Memorial and Peter Eisenman's Memorial to the Murdered Jews
of Europe are also said to
reflect themes of trace and erasure.
Contemporary art and effects on "Decunstructivism"
Two strains of modern art, minimalism and cubism, have had an
influence on deconstructivism. Analytical
cubism had a sure effect on
deconstructivism, as forms and content are dissected and viewed from different
perspectives simultaneously. A synchronicity of disjoined space is evident in
many of the works of Frank Gehry and Bernard
Tschumi. Synthetic
cubism, with its application of found art,
is not as great an influence on deconstructivism as Analytical
cubism, but is still found in the earlier and more vernacular works of
Frank Gehry. Deconstructivism also shares with minimalism a disconnection from
cultural references.
With its tendency toward deformation and
dislocation, there is also an aspect of expressionism and expressionist architecture associated with deconstructivism. At
times deconstructivism mirrors varieties of expressionism, neo-expressionism,
and abstract expressionism as well. The angular forms of the Ufa
Cinema Center by Coop Himmelb(l)au recall the abstract geometries of the
numbered paintings of Franz Kline,
in their unadorned masses. The UFA Cinema Center also would make a likely
setting for the angular figures depicted in urban German street scenes byErnst Ludwig Kirchner. The work of Wassily
Kandinsky also bears
similarities to deconstructivist architecture. His movement into abstract
expressionism and away from figurative work, is
in the same spirit as the deconstructivist rejection of ornament for
geometries.
Several artists in the 1980s and 1990s
contributed work that influenced or took part in deconstructivism. Maya Lin and Rachel
Whiteread are two examples.
Lin's 1982 project for the Vietnam Veterans Memorial, with its
granite slabs severing the ground plane, is one. Its shard-like form and
reduction of content to a minimalist text influenced deconstructivism, with its
sense of fragmentation and emphasis on reading the monument. Lin also
contributed work for Eisenman's Wexner Center. Rachel Whiteread's cast
architectural spaces are another instance where contemporary
artis confluent with architecture. Ghost (1990), an entire living space cast in
plaster, solidifying the void, alludes to Derrida's notion of architectural
presence. Gordon Matta-Clark's Building cuts were deconstructed sections of
buildings exhibited in art galleries.
UFA-Palast in Dresden by Coop
Himmelb(l)au
The first woman to win the Pritzker Prize for Architecture in its 26 year history, ZAHA HADID (1950-) has defined a radically new approach to architecture by creating buildings, such as the Rosenthal Center for Contemporary Art in Cincinnati, with multiple perspective points and fragmented geometry to evoke the chaos of modern life.
The opening words of the citation when Zaha Hadid was named as the first woman to win the prestigious Pritzker Prize for architecture in 2004 were: “Her architectural career has not been traditional or easy.” An understatement. All architects have to struggle, but Hadid seems to have struggled rather more than most. Her single-mindedness, her singular lack of compromise is the stuff of legend although, as one writer commented, like a hurricane, “the storms are all on the outside”. In part, it is simple artistic temperament, necessary, perhaps, to create forceful architecture like Hadid’s. And in part it is the survival mechanism required to create such architecture in what remains a distinctly macho profession. Diva, the critics call her, although as the T-shirts worn by Hadid staff replied at the opening of her first major public building, the Cincinnati Art Center, in 2003: “Would they call me a diva if I were a guy?”
Hadid’s forcefulness is both her curse and her blessing. A curse because strong character can make clients run for the hills. Until recently Hadid was more famous not for the buildings she had built, but for the ones she had not built — preserved only in her famously vigorous, dramatic images. Often, as in the case of the Cardiff Bay Opera House, these opportunities to build were lost quite spectacularly. In the end, though, her forcefulness is a blessing. Like architectural natural selection, it helps to weed out weak projects and weak clients, so that when architecture is finally built, it is as strong-willed as its creator.
Zaha Hadid was single-minded from an early age. Born in 1950 in Baghdad, she grew up in a very different Iraq from the one we know today. The Iraq of her childhood was a liberal, secular, western-focused country with a fast-growing economy that flourished until the Ba’ath party took power in 1963, and where her bourgeois intellectual family played a leading role. Hadid’s father was a politician, economist and industrialist, a co-founder of the Iraqi National Democratic and a leader of the Iraqi Progressive Democratic Parties. Hadid saw no reason why she should not be equally ambitious. Female role models were plentiful in liberal Iraq, but in architecture, female role models anywhere, let alone in the Middle East, were thin on the ground in the 1950s and 1960s. No matter. After convent school in Baghdad and Switzerland, and a degree in mathematics at the American University in Beirut, Hadid enrolled at the Architectural Association in London in 1972.
The AA of the 1970s was the perfect place for ambitious, independently minded would-be architects to flourish. Under Alvin Boyarski as director, it became the most fertile place for the architectural imagination, home to a precocious generation of students and teachers who are now household names, such as Rem Koolhaas, Daniel Libeskind, Will Alsop and Bernard Tschumi. It was a period when pre-1968 optimistic modernism was being abandoned amid economic uncertainty and cultural conservatism. In architecture too, democratic modernism was perceived to have failed and there was a swing towards historicist post-modernism and conservation. The AA’s theorists did the opposite. They rejected kitsch post-modernism to become still more modernist. Like snakes shedding their skins, they discarded the failed utopian projects of “first” modernism to think up a new modernism with a more sophisticated idea of history and human identity, an architecture embodying modernity’s chaos and disjuncture in its very shape.
If Hadid was drawn to any of her tutors it was Koolhaas, himself working out his ideas of neo-modernity in books such as 1977’s Delirious New York. When Hadid graduated in 1977, Koolhaas offered her a job as a partner in his and Elia Zenghelis’s new firm, the Office for Metropolitan Architecture. But she didn’t last long there. Koolhaas described her at the time as “a planet in her own orbit”. Hadid had her own ideas on architecture to nurture. And it was a long incubation. She started teaching at the AA while developing her own brand of neo-modernist architecture, one which went back to modernism’s roots in the constructivism and suprematism of the early 20th century. Her graduation project, a hotel on London’s Hungerford Bridge, was called Malevich’s Tectonik, after the suprematist Kasimir Malevich who wrote in 1928: “we can only perceive space when we break free from the earth, when the point of support disappears.” Hadid’s architecture follows suit, creating a landscape which metaphorically – and, perhaps, one day literally – seems to take off.
You could call her work baroque modernism. Baroque classicists like Borromini shattered Renaissance ideas of a single viewpoint perspective in favour of dizzying spaces designed to lift the eyes and the heart to God. Likewise, Hadid shatters both the classically formal, rule bound modernism of Mies van der Rohe and Le Corbusier and the old rules of space — walls, ceilings, front and back, right angles. She then reassembles them as what she calls “a new fluid, kind of spatiality” of multiple perspective points and fragmented geometry, designed to embody the chaotic fluidity of modern life.
Hadid’s architecture denies its own solidity. Short of creating actual forms that morph and change shape – still the stuff of science fiction – Hadid creates the solid apparatus to make us perceive space as if it morphs and changes as we pass through. Perhaps wisely, she talks little about theory. Unlike, say, Daniel Libeskind, she does not say that a shape symbolises this or that. And she wears her cultural identity lightly. Noticeably, and uncharacteristically diplomatically, she has declined to comment on the situation in Iraq. Instead Hadid lets her spaces speak for themselves. This does not mean that they are merely exercises in architectural form. Her obsession with shadow and ambiguity is deeply rooted in Islamic architectural tradition, while its fluid, open nature is a politically charged riposte to increasingly fortified and undemocratic modern urban landscapes.
All of which would have been impossible without the advent of computer-aided design to allow architects almost infinite freedom to create any shape they wanted. Actually building these new kinds of spaces was another matter. Such melodramatic shapes required significant investment, both financially and in terms of engineering. In the 1980s, the first tentative steps were taken when architects such as Peter Eisenman and Frank Gehry began the long process of convincing the public to love them, and clients to invest in them. Hadid was picked as part of the seminal Deconstructivist Architecture exhibition at the Museum of Modern Art, New York, the first definitive survey of the new generation. Critics loved it, but most MoMA visitors found the new shapes, particularly Hadid’s, baffling. She presented her ideas in impressionistic, abstract paintings, designed to get across the feel of her spaces. Hadid explained that conventional architectural drawings could never convey the “feel” of her radical, fluid spaces, but paintings could. It took time, though, for people to understand them.
Slowly, curious clients emerged who were willing to spend money to realise Hadid’s peculiar new architecture. It was a stuttering start. Her first big success, The Peak, a spa planned for Hong Kong, was never built. Nor were buildings on Berlin’s Kurfürstendamm, or an art and media centre in Dusseldorf. Hadid’s first built project, The Fire Station at the production complex of the Vitra office furniture group at Weil-am-Rhein on the German-Swiss border was a formal success but not a functional one. The fire service moved out and the building was converted into a chair museum.
The most notorious project, though, was Hadid’s 1994 competition-winning design for the Cardiff Bay Opera House, which was abandoned by the Millennium Commission after noisy opposition from local lobbyists, particularly Cardiff politicians wary of highbrow architecture being “imposed” on a Welsh city by London. Britain was still knee-deep in the conservative political and architectural culture that had emerged in the 1970s. Popular taste was gradually becoming more daring, but Hadid’s ideas were as yet a step too far. It was a sobering experience, which set back her office for several years, but one she learnt from. Hadid later became philosophical recently about Cardiff, seeing it as a turning point in her career. Without dumbing down, she has slowly learnt the politics of how to get her work built.
Slowly it worked. A ski jump in Innsbruck, then a tram station in Strasbourg. Somewhat ironically, it was traditionally conservative Midwestern America that gave Hadid her real break. The Rosenthal Center for Contemporary Art in Cincinnati, Ohio was a chance to try out her ideas on a large scale and to conceive a stunning new take on curating and museum experience, imagined as “a kit of parts”, she says, which curators can customise for each show. The galleries are housed in horizontal oblong tubes floating above ground level, between which ribbon-like ramps zig and zag skywards. “It’s like an extension of the city, the urban landscape.” Literally so. It is designed like “an urban carpet”, one end of which lies across the sidewalk at the busiest intersection in Cincinnati to yank in unsuspecting passers-by. Inside, the carpet rolls through the entrance, up the back wall, marked with light bands directing you like airport landing strips to the walkways, up which you can clamber like a child on a climbing frame, bouncing from artwork to artwork, shoved about by an architect who piles space high into a tower of tightly controlled vignettes, throwing your eye from the most intimate of spaces, to trompes l’oeils and out of the building through carefully positioned windows. “It’s about promenading,” says Hadid, “being able to pause, to look out, look above, look sideways.” Her impressionistic new space was realised. The New York Times described it, without overstatement, as “the most important new building in America since the Cold War.”
Cincinnati silenced all those who said Zaha Hadid’s architecture was impossible to build. And the ideas developed for Cincinnati were already being refined in other large-scale projects, such as the MAXXI Contemporary Arts Centre in Rome (due to open next year), the BMW Central Building in Leipzig and Phaeno Science Centre in Wolfsburg (both projects in Germany and opened in 2005). Crucially, Cincinnati gave Hadid the confidence to win a stream of commissions for: a ferry terminal in Salerno, Italy; a high-speed train station in Naples; a public archive, library and sport centre in Montpellier; Opera Houses in Dubai and Guangzhou, a performing arts centre in Abu Dhabi, private residences in Moscow and the USA as well as major master-planning projects in Bilbao, Istanbul and the Middle East. Even in conservative Britain, her adopted home, Hadid has recently completed Maggies Centre, a cancer care centre in Kirkaldy in Scotland. This modest project marks the beginning of a plethora of UK based work including a transport museum in Glasgow, a gallery for the Architecture Foundation in London, a mixed-use development in Hoxton Square and the London 2012 Olympic Aquatics Centre. Undoubtedly, Hadid has cemented her reputation as one of the world’s most exciting and significant contemporary architects. By transcending the realm of paper architecture to the built form, Hadid is certain to complete many memorable projects in the future.
Zaha
hadid an architect who is associated with deconstructivist approach.
London practice Zaha Hadid
Architects have
designed two buildings for the city of Reggio Calabria in Italy.
One
building will house a museum of Mediterranean history, including exhibition
spaces, restoration facilities, an archive, an aquarium and a library.
The
second will house the museum’s administrative offices, a gym, craft workshops,
shops and a cinema, as well as three separate auditoriums that can be joined
together.
Here’s
some more information from Zaha Hadid Architects:
–
REGIUM
WATERFRONT [Reggio Calabria, Italy]
The
project aims to define the city of Reggio Calabria as a Mediterranean cultural
capital through the realization of two characteristic buildings: a museum and a
multifunctional building for performing arts.
The
location of the site on the narrow sea strait separating continental Italy from
Sicily offers an opportunity to create two unique buildings, visible from the
sea and the Sicilian coast: a Museum of the Mediterranean History and a
Multifunctional Building.
The
form of the museum draws inspiration from the organic shapes of a starfish. The
radial symmetry of this shape helps to coordinate the communication and
circulation between different sections of the museum and its other facilities.
The Museum of Mediterranean History will house exhibition spaces, restoration
facilities, an archive, an aquarium and library.
The
Multifunctional Building is a composition of three separate elements that
surround a partially covered piazza. The building will house the museum’s
administrative offices, a gym, local craft laboratories, shops and a cinema.
Three different auditoriums, which can be converted into one large space, are
also housed in the Multifunctional Building.
PROGRAM:
Mixed-Use: Museum of the Mediterranean and Multifunctional block.
CLIENT:
Comune di Reggio Calabria
ARCHITECT:
Zaha Hadid Architects
Design Zaha Hadid with Patrik Schumacher
Project Architect Filippo Innocenti
Design team [competition] Michele Salvi, Roberto Vangeli, Andrea Balducci Castè Luciano Letteriello, Fabio Forconi, Giuseppe Morando Johannes Weikert, Deepti Zachariah, Gonzalo Carbajo
Design Zaha Hadid with Patrik Schumacher
Project Architect Filippo Innocenti
Design team [competition] Michele Salvi, Roberto Vangeli, Andrea Balducci Castè Luciano Letteriello, Fabio Forconi, Giuseppe Morando Johannes Weikert, Deepti Zachariah, Gonzalo Carbajo
CONSULTANTS:
Structures Adams-Kara-Taylor: Hanif Kara
There are many reviews and books about this movement . for example
Mark wigley ,in his book called ‘’The architecture of deconstruction: Deridda’s
Haunt ‘’ Mark Wigley asserts, are the stakes higher for
deconstruction than in architecture - architecture is the Achilles' heel of
deconstructive discourse, the point of vulnerability upon which all of its
arguments -depend. In this book Wigley redefines the question of deconstruction
and architecture. By locating the architecture already hidden within
deconstructive discourse, he opens up more radical possibilities for both
architecture and deconstruction, offering a way of rethinking the institution
of architecture while using architecture to rethink deconstructive
discourse.Wigley relentlessly tracks the tacit argument about architecture
embedded within Jacques Derrida's discourse, a curious line of argument that
passes through each of the philosopher's texts. He argues that this seemingly
tenuous thread actually binds those texts, acting as their source of strength
but also their point of greatest weakness. Derrida's work is seen to render
architecture at once more complex, uncanny, pervasive, unstable, brutal,
enigmatic, and devious, if not insidious, while needing itself to be subjected
to an architectural interrogation.Wigley provocatively turns Derrida's reading
strategy back on his texts to expose the architectural dimension of their
central notions like law, economy, writing, place, domestication, translation,
vomit, spacing, laughter, and dance. Along the way he highlights new aspects of
the relationship between Heidegger and Derrida, explores the structural role of
ornament and the elusive architecture of haunting, while presenting a
fascinating account of the institutional politics of architecture.Mark Wigley
is Assistant Professor in the School of Architecture at Princeton University.
Model of the Soho City Masterplan, Beijing 2003
references:
http://designmuseum.org/
www.wikipedia.com
http://www.merriam-webster.com/dictionary/deconstructivism
http://www.cruzine.com/2010/12/06/deconstructivism-architecture/
http://weburbanist.com/2011/06/13/deconstructivism-7-architectural-wonders-of-the-world/
http://www.topboxdesign.com/tag/deconstructivism/page/6/
Hiç yorum yok:
Yorum Gönder