History of deconstructive architecture

What is the history of deconstructive architecture? Does disassociation simply mean removing the core of architecture? Or is the fact that any building not fully prepared for its job, it needs to be harnessed in order to serve it and its functions? Or is it a challenge to the values ​​of harmony, unity and stability in buildings?

What is deconstructive architecture?

Building dismantling is a term that is not included in the dictionary of words, but it literally translates as a breakdown or demolition of a specific building or facility, whether it is for reasons related to the building itself or acts of sabotage, and for this many misunderstand the term as being very negative.

Dismantling architecture is a method of architecture, not modern, nor is it a movement against architecture or society. He does not follow “rules” or acquire certain aesthetics, nor is he a rebellion to a social dilemma. It is unleashing the endless possibilities of manipulating shapes and structures. From theories of dismantling buildings, some wonderful and iconic buildings appeared in the late twentieth and early twenty century.

History of deconstructive architecture

The idea of ​​dismantling architecture in architecture sprang up from postmodernism to the late 1980s, when a group of avant-garde architects – Frank Jerry, Daniel Lipskind, Reem Kulhas, Peter Eismanman, Zaha Hadid, Cup Himmelp (AU) and Bernard Teschome – appeared at an exhibition called Theatrical architecture at the Museum of Modern Art in New York. Since then, its legacy has penetrated into contemporary architecture and is visible today all over the world in the impressive buildings designed by the likes of Zaha Hadid, Frank Gehry and Uma just to name a few.

One of the supporters of the most successful building dismantling movement is Frank Gehry and since the Vitra Design Museum was designed in Germany, Jerry has continued to experiment with building dismantling ideas, creating buildings – like the Titanium-filled Guggenheim Museum in Bilbao – that redefine concepts of shape and function in architecture.

Deconstructive architecture can be said to be just a symbol of modernity. And therefore its presence is unnecessary but rather expensive, is it art for the sake of art. The shape of the whole structure is irrational in nature and there is nothing wrong with that as long as it belongs to pure art. His transfer to the field of architecture should lead to disaster. The buildings did not create the architecture of reality, but the architecture of artwork. So the deconstruction philosophy started when the dreams of an engineer were disturbed by the purity and correctness of the shape of the construction, and therefore he had to think about the shape.

Below is a brief description of the most influential deconstructive design:

Vitra Design Museum, Will am Rhein, Germany,

Designed by Frank Gehry, completed: 1989, the museum houses an abstract collection of cubic and nervous shapes, and houses the largest collection of furniture in the world, housing most of the periods and styles from the nineteenth century to the modern era. The Vitra Design Museum, the first Frank Gehry building in Europe, created in cooperation with Lorrach Gunter Pfeifer designer, is one of many architectural paths on the furniture company campus

UFA-Kristall Filmpalast in Dresden, Germany,

Designed by Coop Himmelb (l) au and completed: 1997-1998 consisting of two interconnected building units: a block of cinema, with eight cinemas and seats for more than two thousand scenes, a crystal, a glass shell operating as a hallway and a plaza. Described by Coop Himmelb (l) au as an “urban corridor”, Crystal is also used as a place for public functions, while its urban quality is enhanced by bridge and stairway systems that provide views of people across layers of light and colors.

Seattle Central Library, Washington

Designed by OMA / Rem Koolhaas and completed: 2004, this groundbreaking 11-storey structure with its cross-shaped glass and steel façade is home to “Books Spiral”, a continuous 4-storey shelving system that allows browsers to view the entire library collection without using stairs Or travel to a different part of the building. When opened, Spiral’s bookcases contained 780,000 books, but was able to hold up to 1,450,000 books without adding shelves.

Jewish Museum, Berlin, Germany

Designed by Daniel Lipskind, completed: 2001, this example of Shoah art consists of a unique zig-zag structure, covered with thin zinc panels pierced with windows in the shape of wounds and scars, the shape of which was inspired by the Curved Star of David, and the cartridge representing the Jewish state. There is a large hole carved into the museum, symbolizing the disappearance of thousands of Berliners who disappeared in the Holocaust.

CCTV headquarters, Beijing, China

Designed by OMA and completed in 2008, uncommonly referred to as “bizarre” by the Chinese president, this exceptional example of deconstuctivist skyscraper engineering – housed in central China TV headquarters – is not a traditional tower, but an episode of six vertical and horizontal sections. Despite criticism, she won an award in 2013 for Best Tall Building of the Year from the Council of High Building and Urban Habitats (CTBUH). OMA, the Office of Urban Architecture, was founded in 1975 by Dutch engineer Rem Koolhaas and Greek designer Elia Zingelis, with Zoe Zingelis and Madeleine Freisendorp.

Parc de la Villette, Paris, France

Designed by Bernard Chome and completed in 1984-87, the Parc de la Villette in Paris, an original symbol of structural design, features an alien network of bright red structures designed not to relax but to interact and explore. With playground parks, children’s playgrounds and other facilities dedicated to science and music, it encompasses about 25 buildings, pathways, bridges, and natural parks that have been built over fifteen years.

 

Wexner Center for the Arts, Ohio

Designed by Peter Eisenman, completed: 1989, this five-story outdoor structure with a fake white scaffold designed to make the entire structure appear to be “in progress”, has no known entry point, and the interior is said to incite nausea among some visitors due to a “collision” Aircraft “design. In this sense, the structure remains one of the most incomparable examples in structural engineering, as it takes away abstract theories of convenience and functionality.

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Architects began exploring spaces and breaking design rules, and the “look that followed function” was neglected, but somehow the refinement and elegance of modernity remained. The structure of the building was handled and converted to unexpected geometric shapes, but the function of the building was preserved. Basically, architects started enjoying, and instead of asking themselves whether the design was functional or not, the main question was: Why not?

However, most architects refused to call it “dismantling”, away from any kind of movement. Bernard Tchoumi believed that “describing the work of these architects as a” movement “or” a new style “was out of context and showed a lack of understanding of their ideas,” claiming that the style was merely a move against postmodernism. Unfortunately for them, the term resonated with the public, and their works have been referred to as “dismantling” ever since. In fact, the Deconstructivist approach to design has created some of the most award-winning structures in the world to date, affecting hundreds of new architects.

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