Part of the Deconstructivist philosophy was therefore to detach architecture from 'function' as such and to allow a 'free play' of design. In a sense to make architecture/design a 'pure' art. It might solve some of the functional problems but that was not its main purpose.

Town Hall Finland ,Alvar Aalto

Dancing House ,Frank Gehry

1. Explodes architectural form into loose collections of related fragments. 2. Destroys the dominance of the right angle and the cube by using the

diagonal line and the `slice' of space. 3. Uses ideas and images from Russian Revolutionary architecture and design -

Russian Constructivism 4. Searches for more DYNAMIC spatial possibilities and experiences not

explored (or forbidden) by the Modern Movement. 5. Provokes shock, uncertainty, unease, disquiet, disruption, distortion by

challenging familiar ideas about space, order and regularity in the environment.

6. Rejects the idea of the `perfect form' for a particular activity and rejects the familiar relationship between certain forms and certain activities.

Note that while Memphis designs attack the lack of colour, texture, pattern or sensuality of the Modern Movement, Deconstructivism attacks the closed and precise forms and spaces of the Modern Movement. The same design attitudes are simply directed at different aspects of the design of space.

There is a fairly clear source for the origins of such a movement and this comes from OUTSIDE the area of architecture and design .

The real origins of Deconstructivism lie in the work of the Austrian psychologist Sigmund Freud (c.1890).

In other words Freud set out to 'deconstruct' the speech of his patients in order to find the repressed source of their anxiety which, once identified and opened up for discussion would resolve the problem.

Deconstruction in this psychological sense simply means a method of interpretation and analysis of a speech or a text.

Austrian psychologist Sigmund Freud

To pretend, I actually do the thing: I have therefore only pretended to pretend.

Jacques Derrida ,July 15, 1930 – October 9, 2004

In the 1960s the French philosopher, Jacques Derrida who had studied the work of Freud, developed and began to apply this deconstructive technique to the study of philosophical texts. Derrida’s approach was as follows:1. Whereas Freud had listened to what his patients had to say, Derrida analyzed what other people WROTE, but with the same purpose in mind. That is to reveal the repressed ideas which underlay the apparently smooth, elegant and well-constructed arguments put forward by other philosophers.

2. He wanted to find the inconsistencies in their ideas by analyzing the way they wrote them: again the figures of speech they used and the way they avoided certain topics which might contradict the coherence of the model of experience which they had put forward.

3. Derrida believed that no theory could pretend to be absolutely consistent, logical or present itself as a self-contained and whole system. If it did, it could only do so by hiding or repressing something which did not fit its view of things.

Collaborations: Philosophy and ArchitectureIn 1983, the architect Bernard Tschumi invited the

philosopher Derrida to collaborate with New York architect Peter Eisenman on a garden for La Villette. Derrida was working on Plato's Timaeus.

DECONSTRUCTIVISM INTO ARCHITECTURE

Frank O Gehry Zaha Hadid

Bernard Tschumi

an introduction to minimalism & decnstructivism.....

Minimalism describes movements in various forms of art and design, especially visual art and music, where the work is set out to expose the essence or identity of a subject through eliminating all non-essential forms, features or concepts.

First is minimalism, which is theoreticly based upon Mies van der Rohe's quote "less is more". That is somehow correct, but rare are those who master design so well, that can achieve high level of expression and aesthetics with such minimum. Not everyone is Mies.

Deconstructivism and was founded by Bernard Tschumi.

They deny completly everything... Even the orthogonal geometry that was so obvious for the whole history now breakes down and is completly irrelavant .

The term de-construct-ivism describes what happens in someones head; the basic idea of an object (like house, for example) is smashed [=deconstructed] into smallest possible pieces, each of them is carefully thaught over and then re-constructed back with new logic.

A deconstrictivistic arist will ask himself; is this necessary or can it be done differently. If it can, then how?

Rejection of right anglesThere was an equally obsessive attempt to

destroy the predominance of the right angle in architecture – that sign of rationalist order and of the predetermined.

Galaxy Soho, Zaha Hadid

New possibilities….To reveal those forms, possibilities and

approaches that Modern Architecture had repressed in order to become 'perfect'.

Villa SavoyeCleveland Clinic for Brain Health, Las Vegas, designed by Frank Gehry

They deconstructed the forms of Modern Architecture by creating apparently illogical clashes of grids, spaces and volumes - breaking open the form of buildings.

Civil court,Valdebebas ,Zaha hadid

They used diagonal lines to destroy the perfect right-angled geometries of the Modern Movement.

They left beams projecting/unfinished/incomplete, walls broken and slanted, windows turned at angles, rough materials, exposed construction methods and so on.

JVC Entertainment Centre

Another part of the Modern philosophy was that architecture and buildings were serious issues. Every part of the building had to be based on a functional problem and solution. This was a kind of 'scientific' approach to design. The results of this were, in general, that many buildings in the 1950s and early 1960s looked faceless and boring.

They were unable to express the joy, sensuality, tactility or pleasure which earlier architectures had shown.

These human expressions and sensory needs had been repressed in favour of scientific rationality. Form, after all, in the Modern sense was merely an effect of function. It had no other emotional or sensory purpose of its own.

February 28, 1929Take what comes your way. Do the best with it. Be responsible as you can and something

good will happen, and it has.

Gehry at the start….Gehry was born Frank Owen Goldbergon February 28, 1929, in

Toronto, Ontario to parents, Irwin and Thelma (née Thelma Caplan) Goldberg.

In 1947 Gehry moved to California, got a job driving a delivery truck, and studied at Los Angeles City College, eventually to graduate from the University of Southern California's School of Architecture.

Gehry graduated at the top of his class with a Bachelor of Architecture degree from USC in 1954. Afterwards, he spent time away from the field of architecture in numerous other jobs, including service in the United States Army.

In the fall of 1956, he moved his family to Cambridge, where he studied city planning at the Harvard Graduate School of Design.

In 2004, he designed the trophy for the World Cup of Hockey. Gehry holds dual citizenship in Canada and the United States.

Gehry's work falls in the style of Deconstructivism, which is often referred to as post-structuralist in nature for its ability to go beyond current modalities of structural definition.

Because of this, unlike early modernist structures, Deconstructivist structures are not required to reflect specific social or universal ideas, such as speed or universality of form, and they do not reflect a belief that form follows function.

Gehry’s style at times seems unfinished or even crude. He mainly featured the use of inexpensive found objects and non-traditional media such as clay to make serious art. Gehry has been called "the apostle of chain-link fencing and corrugated metal siding“. However, a retrospective exhibit at New York's Whitney Museum in 1988 revealed that he is also a sophisticated classical artist, who knows European art history and contemporary sculpture and painting.

Gehry is very much inspired by fish. Not only do they appear in his buildings. His colleagues are recreating Greek temples. He said, "Three hundred million years before man was fish..

Standing Glass Fish is just one of many works featuring fish which Gehry has created. The gigantic fish is made of glass plates and silicone, with the internal supporting structure of wood and steel clearly visible. It soars above a reflecting pool in a glass building built especially for it, in the Minneapolis Sculpture Garden.

Gehry has gained a reputation for taking the budgets of his clients seriously, in an industry where complex and innovative designs like Gehry's typically go over budget.

Sydney Opera House, which has been compared with the Guggenheim Museum Bilbao in terms of architectural innovation, had a cost overrun of 1,400 percent.

Gehry explained how he did it. First, he ensured that what he calls the "organization of the artist"

prevailed during construction, in order to prevent political and business interests from interfering with the design.

Second, he made sure he had a detailed and realistic cost estimate before proceeding

. Third, he used CATIA (computer-aided three-dimensional interactive application) and close collaboration with the individual building trades to control costs during construction.

However, not all of Gehry's projects have gone smoothly. The Walt Disney Concert Hall in downtown Los Angeles resulted in over bedget building.

In addition to architecture, Gehry has made a line of furniture, jewelry for Tiffany & Co., various household items, sculptures, and even a glass bottle for Wyborowa Vodka.

His first line of furniture, produced from 1969 to 1973, was called "Easy Edges", constructed out of cardboard.

Another line of furniture released in the spring of 1992 is "Bentwood Furniture". Each piece is named after a different hockey term.

He was first introduced to making furniture in 1954 while serving in the U.S. Army, where he designed furniture for the enlisted soldiers. Gehry claims that making furniture is his "quick fix"

Corrugated steel sheets

Chain link fencing

Plywood

Guggenheim Museum Bilbao · Bilbao, Spain

Frank Gehry’s design for the Guggenheim Museum in Bilbao, Spain is so completely unhindered by traditional rules that regulate architectural design that the building has a sculptural appearance that is totally independent of any school of architecture from history.

Guggenheim Museum at night

Established October 18, 1997Location Abando, Bilbao, SpainType Art museumDirector Juan Ignacio Vidarte

Exterior inspired by fish…

Gehry designed on a computer the moving and open curvilinear forms that are reminiscent of an opening flower. The small titanium singles that sheath the exterior of the building, shimmering in the sunlight and reflecting the changing colors in the atmosphere, further emphasize the high tech origins of the design.

InteriorsThe interior is as

exciting as the exterior, having rooms in various shapes and sizes. The huge atrium has a network of skylights above with catwalks and elevator cages running throughout the space below it.

.

Interior Details..Under the chaotic appearance created by the

opposition of fragmented regular forms with covered stone, curved forms coated in titanium and large glass walls, the building is built around a central axis; the hall, 50 meters high, a monumental empty space topped by a metal dome.

Around it, a system of curved bridges, glass elevators and stair towers connecting the 19 galleries spread over three floors, which combine classic rectangular space with other unique forms and proportions, all lit by the dome zenith.

Temporary exhibitions and large-format works have a place in a gallery of about 30 m. wide and nearly 130 m. long, free of columns, located on the volume that passes under the La Salve Bridge.

It is very curvy, has a spider sculpture outside of it, a lot of shapes put together, no windows.

Seen from the river, the form resembles a boat, but seen from above it resembles a flower.

Built of limestone, glass and titanium, the museum used 33,000 pieces of titanium half a millimeter thick. As these pieces are so thin, a perfect fit to the curves is necessary. The glass has a special treatment to let in the sun's light, but not its heat

The building is built with load-bearing walls and ceilings, which have an internal structure of metal rods that form grids with triangles. The shapes of the museum could not have succeeded if it did not use load-bearing walls and ceilings. Catia determined the number of bars required in each location, as well as the bars positions and orientations. In addition to this structure, the walls and ceilings have several insulating layers and an outer coating of titanium. Each piece is unique and exclusive to the place, determined by Catia

Dancing House, PragueThe Dancing House or Fred and

Ginger is the nickname given to the Nationale-Nederlanden building in Prague, Czech Republic, at Rašínovo nábřeží.

Construction started: 1992

Opened: 1996

Architectural style:Deconstructivism

The building is located on the street RESSLOVA Street, on the right bank of the Vltava.

Dancing House at night…..

Concept…The Dancing House has two central bodies. The first is a

tower of glass that is close to half height and is supported by curved pillars, the second runs parallel to the river, which is characterized by the moldings that follow a wavy motion and distributed through the windows so the non-aligned .

This solution has been driven mainly by a kind of aesthetic consideration: the windows lined evidenciarían that the building has two windows, although they have the same height as the two adjacent buildings of the nineteenth century. They also do not have to be perceived in the will of the designer, as simple forms on a flat surface, but must achieve the effect of three-dimensionality, hence the idea of frames as outgoing frames of paintings. Also the winding moldings on the facade make it more confusing perspective, diminishing the contrast with the buildings that surround it.

SpacesOn the ground floor are

located and coffee shops are connected directly along the river and the public plaza in front.

The spaces of the second to the seventh floor are occupied, however, by offices, while in the last level houses a restaurant with a panoramic view of the city and the nearby castle.

Building Materials used…The building, which stretches over an area of

5,400 m2, has been constructed of steel, glass and precast concrete Clad revoked.

The dome is made of metal tubes and covered with a mesh of stainless steel.

Referenceswww.wikipedia.comBlogspotA Simple GuideOrigins, Sources and IntentionsBy ALEX BROWNwww.greatbuildings.com/buildings/Guggenheim_Bilba

o.htmlhttp://en.wikiarquitectura.com/index.phpSUBMITTED BY:Shilpa Karwa Preeti AgarwalAbhishek UdayLalit Agarwal

BORN-31 October 1950 (age 62) BAGHDAD(IRAQ)

INTRODUCTIONDame Zaha Mohammad Hadid, (born 31

October 1950) is an Iraqi-British architect.She received the Pritzker Architecture Prize in

2004—the first woman to do so—and the Stirling Prize in 2010 and 2011.

 Her buildings are distinctively futuristic, characterized by the "powerful, curving forms of her elongated structures"[1] with "multiple perspective points and fragmented geometry to evoke the chaos of modern life".

Early life and education

She grew up in one of Baghdad's first Bauhaus-inspired buildings during an era in which "modernism connoted glamor and progressive thinking" in the Middle East.

She received a degree in mathematics from the American University of Beirut before moving to study at the Architectural Association School of Architecture in London.

She worked for her former professors, Koolhaas and Zenghelis, at the Office for Metropolitan Architecture, in Rotterdam, the Netherlands; she became a partner in 1977.

Peter Rice, the engineer who gave her support and encouragement early on at a time when her work seemed difficult. In 1980, she established her own London-based practice. During the 1980s, she also taught at the Architectural Association.

International recognition

In 2002, she won the international design competition to design Singapore's one-north master plan. In 2005, her design won the competition for the new city casino of Basel, Switzerland.

 She is a member of the editorial board of the Encyclopædia Britannica.

Her architectural design firm, Zaha Hadid Architects, employs more than 350 people, and is headquartered in a Victorian former school building in Clerkenwell, London.

In 2008, she ranked 69th on the Forbes list of "The World's 100 Most Powerful Women“

In 2008, she ranked 69th on the Forbes list of "The World's 100 Most Powerful Women“

COMPLETED PROJECTS Vitra Fire Station (1994), Weil am Rhein, Germany Bergisel Ski Jump (2002), Innsbruck, Austria Rosenthal Center for Contemporary Art (2003), Cincinnati, Ohio, USA Hotel Puerta America (2003-2005), Madrid, Spain BMW Central Building (2005), Leipzig, Germany Ordrupgaard annexe (2005), Copenhagen, Denmark Phaeno Science Center (2005), Wolfsburg, Germany Maggie's Centres at the Victoria Hospital (2006), Kirkcaldy, Scotland Hungerburgbahn new stations (2007), Innsbruck, Austria Chanel Mobile Art Pavilion (Worldwide) Tokyo, Hong Kong, New York, London, Paris, Moscow,

(2006–08) Bridge Pavilion (2008), Zaragoza, Spain Pierresvives (2002–12), Montpellier, France, project architect: Stephane Hof MAXXI - National Museum of the 21st Century Arts (1998–2010), Rome, Italy.[13] Stirling Prize 2010

winner. Guangzhou Opera House (2010), Guangzhou, People's Republic of China. London Aquatics Centre (2011), 2012 Summer Olympics, London, UK. Riverside Museum (2007–11) development of Glasgow Transport Museum, Scotland CMA CGM Tower (2004–11), Marseilles, France Evelyn Grace Academy (2006–10) in Brixton, London, UK. Stirling Prize 2011 winner. Roca London Gallery (2009–11) in Chelsea Harbour, London, UK. Heydar Aliyev Cultural Centre (2007–12) in Baku, Azerbaijan.[14]

Eli and Edythe Broad Art Museum (2010–12), East Lansing, Michigan, USA[15]

BMW CENTRAL BUILDING, GERMANY

INTRODUCTIONThe BMW Central Building Located in 

Leipzig, Germany was the winning design submitted for competition by Pritzker Prize winning architect, Zaha Hadid. The central building is the nerve center for BMW's new $1.55 billion complex built to manufacture the BMW 3 Series Vehicle.

CONCEPTThe BMW factory prior to the construction of the

central building existed as three disconnected buildings, a competition was held for the design of a central building to function as the physical connection of the three units.

 Hadid's design took this idea of connectivity and used it to inform every aspect of the new building.

 Designed as a series of overlapping and interconnecting levels and spaces, it blurs the separation between parts of the complex and creates a level ground for both blue and white collar employees, visitors, and the cars.

THE BUILDINGThe BMW Central building is a 270,000 square feet

(25,000 m2) foot facility that makes up only 250,000 square feet (23,000 m2) of the 540-acre (2.2 km2) campus. Serving 5,500 employees, the building functions as the most important piece of the factory, connecting the three production sheds.

 The offices, meeting rooms, and public relations facilities[8]are all built around these elevated conveyors, creating an interesting relationship between the employees, the cars, and the public.

 All of the load-bearing walls, floors, and office levels are made of cast-in-place concrete.

While the roof structure is composed of structural steel beams and space frame construction.

The facade is clad in simple materials of like corrugated metal, channel glass, and glass curtain walls .

The buildings has received numerous architectural awards, including a 2006 RIBA European Award,