Deconstructivists

15 Pins
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12y
París
Parc de la Villette, Bernard Tschumi, Paris (1982-1998): Reclaimed post industrial areas combine urban and rural structures. The park is dotted in a grid pattern with follies that are no longer working - they are parts of machinery and buildings. The past is fractured, but is reassembled in a grid, creating a rarefied atmosphere and context to look back with in retrospect.
Rooftop Remodelling
Remodelling of Roof-top, Biberstrasse Offices, Vienna, Austria, Coop Himmelblau (1985): The roof-top of an office building has been remodelled to take full advantage of the views and light. The structure was designed to frame views (some of them were not desirable) and express the flow of energy in a "taut arc". The line dips below the "ground" of the extension. What an opportunity!
Page not found - Libeskind
Jewish Museum: Windows as part of Star of David Matrix. This image haunts me. I think of a prisoner looking out of a prison, the windows representing their faith are turned upside down, inside out, like the fabric of their lives.
Page not found - Libeskind
Jewish Museum: Aerial View. The shape of the building in plan is a further statement of the instability and chaos created by the holocaust. Yet there is a couple of straight lines in it. A sign of hope? Of rationality in chaos? The lines are cut through but are still intact.
Page not found - Libeskind
Jewish Museum: Holocaust Tower, reflecting the chaos and futility of the holocaust... this space leads to nowhere and closes into a tiny space. Yet there is light there. With nconventional angles, light and choice of materials, Libeskind has achieved poetic expression not common to architecture.
Page not found - Libeskind
Jewish Museum: The skin has jagged randomly placed openings for windows. They have no rhythm, order or harmony. They're non rectilinear angles and shapes. Unstable?
Page not found - Libeskind
Jewish Museum, Berlin, Germany, Daniel Libeskind (1989-1999): Look at how different the language of architecture is expressed in the museum. Just looking at the fascade gives us an indication of the uniqueness of this building.
Sign-in
The Peak Competition: Wall, ceiling and floor planes are ambiguous. Melting into each other. The building calls into question what these elements mean in architecture and how they can be expressed.
Sign-in
The Peak Competition, Hong Kong, Zaha Hadid (1982-1983): This building was the winning entry for The Peak Competition in Hong Kong. It was never built. It has groups of angles and lines that are chaotic to each other but in families. Jagged edges contrast with other buildings but are more at home on the mountain as an extension of the mountain itself. https://sites.google.com/site/allenhadid/Home/major-works/the-peak#
OMA
Netherlands Dance Theatre: Note the difference in the shape and dimensions of the complex with the surrounding architecture of a previous age. (It's boxy and geometrical, but there is no symmetry) Breaking the rules of a previous architectural language.
OMA
Netherlands Dance Theatre: When I see this building, I see a juxtaposition of masses and materials. Note the wedge shaped stairs (pretty normal) and roof line (normal as well) - but put together, it leads the eye to the inverse conical tower. The windows along one side is reminiscent of Corb's ribbon windows.
OMA
Netherlands Dance Theatre, The Hague, The Netherlands, Rem Koolhaas (1987-1988): It is not in any sense a traditional building. It does not have symmetry, rhythm or linearity. I do think it does have a certain balance though. The building is well represented here by an abstract painting by the architect.
The House that Shaped an Architectural Generation: Frank Gehry’s First ‘Deconstructivist’ Building
Remodel of Gehry House: On the wall in the background, glass is used as an outer lining material, the interior lining and insulation is visible. Space is questioned in the unusual angle of glass roof/ceiling created in the foreground. What happens to the "waste space"? A precursor to programme areas wrapped in a skin? If these assumptions are questioned enough, can this still be recognised as a house?
Remodel of Gehry House, Santa Monica, CA, USA, Frank Gehry (1979-1988): Gehry challenges the assumption of what materials were used for. The cyclone fence is used in a sculptural like fascade/roof that doesn't shelter and corrugated iron, once relegated to rural sheds, is the main material used on the exterior of the house. Note the front door is almost an afterthought.