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Deconstrucvisim (Rozh Shalli)
Deconstrucvisim (Rozh Shalli)
“ T h i s i s a n a r c h i t e c t u r e o f d i s r u p ti o n , d i s l o c a ti o n , d e fl e c ti o n ,
d e v i a ti o n a n d d i s t o r ti o n , r a t h e r t h a n o f d e m o l i ti o n ,
d i s m a n t l i n g , d e c a y, d e c o m p o s i ti o n , o r d i s i n t e g r a ti o n . I t
d i s p l a y s t h e s t r u c t u r e i n s t e a d o f d e s t r o y i n g i t .”
He said “ D e c o n s t r u c ti o n i s t o n o t n a t u r a l i z e w h a t i s n ' t
n a t u r a l , t o n o t a s s u m e t h a t w h a t i s c o n d i ti o n e d b y Jacques Derrida
h i s t o r y , i n s ti t u ti o n o r s o c i e t y i s n a t u r a l ”. Algerian-French philosopher
(July 15, 1930 – October 9, 2004)
From the documentary "Derrida."
T h e N e w Yo r k e x h i b i ti o n featured
works by Frank Gehry, Daniel Libeskind, Rem
Koolhaas, Peter Eisenman, Zaha Hadid, Coop
Himmelb(l)au, and Bernard Tschumi.
• Deconstructivism attempts to move away from the supposedly constricting 'rules' of modernism such as:
• Unrelated forms.
• Abstract nature.
• Smooth exterior surfaces.
• Contrast of shapes and forms.
• Large expanses of a single material (glass, metals, masonry, etc.).
• Window frames often hidden in the walls.
• Simple metal frame doors.
• Exposed materials
• Open plan
• Fragmented Mass.
• No physically pure basic volume.
• A n g u l a r : essentially
consists of complicated
composition of hybrid
volumes with Acute
angles.
• C h a o s : essentially
consists of complicated
composition of hybrid
volumes with wide variety
of lines & angles.
• Frank Gehry
• Daniel libeskind
• Rem Koolbas
• Peter Eisenman
• Coop Himmelblau
• Bernard Tschumi
As part of the Former Soviet Union, the urbanisation and architecture of Bakú, Azerbaijan’s capital, were strongly
influenced by the planning of the time. Since gaining independence in 1991, Azerbaijan has made significant
innovations in the modernisation and development of infrastructure, and the architecture of Bakú, departing from
the rules of Soviet Modernism.
Concept Hadid’s structure stands alongside the various others within the
complex. With a continuous design of auto-transformation in all directions, there is little
sense of limits and no indication of an end. It is an immersion in a pool of space. The
immateriality of a building which varies between white, more white and even whiter
depending on the position of the sun on its surfaces, lends it a weightless character,
liberating its visitors from gravitational obligations. As an object, the building is subjective,
provoking strong reactions, unrestricted by the suspension of physical gravity.
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