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 It is an architectural
movement that began in
the early 1980s.
 It is influenced by the
theory of
 It is characterized by
fragmentation, and
interest in manipulating a
structure's surface or skin
through transform the
basic Volumes of
architecture (Cube,
Cuboid, Pyramid &
sphere) in order to
recombine it in a new
hybrid shapes.
 Deconstructivism came to public notice with the 1982
Parc de la Villette architectural design competition.
 Deconstructivism rejected the postmodern
acceptance of the historical references, as well as
the idea of ornament as an after-thought or
 It was influenced by the
formal experimentation and
geometric imbalances of
Russian constructivism.
 There are additional
references in deconstructivist
to 20th-century V
movements: the
expressionism, cubism ,
minimalism and
contemporary Art
 Deconstructivism attempts to
move away from the
supposedly constricting 'rules'
of modernism such as "form
follows function," "purity of
form," and "truth to
 Another major current in deconstructivist architecture
takes inspiration from the
Russian Constructivist and Futurist movements of the
early twentieth century, both in their graphics and in
their visionary architecture, little of which was
actually constructed.
 Deconstructivism : form is often deformed when
construction is deconstructed.
 NEW POSSIBILITIES…-To reveal those
forms, possibilities and approaches that
Modern Architecture had repressed in
order to become perfect. Villa Savoye
Cleveland 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
 Civil court,Valdebebas ,Zaha hadid
the perfect right-angled geometries of
the Modern Movement.
broken and slanted, windows turned at
angles,rough materials, exposed
construction methods andso on.
 JVC Entertainment Centre
 No physically pure basic volume.
 Fragmented Mass.
 New Material (Metals, Glass, Concrete).
 Complicated Structure, and thus advanced structural
 Relatively high Void percentage.
 Open Plan.
 Distinguishing from Context.
(born february 28, 1929) is a
canadian- american pritzker
prizewinning architect based
in los angeles.
 mainly work in
deconstructivism and hi-tech
 his buildings, including his
private residence, have
become tourist attractions.
 most of his project base on
deconstructivism for eg.
Walt Disney concert hall ,
dancing house in Prague,.
 The building was designed in 1992
and completed in 1996.
 The style is known
as deconstructivis architecture
due to its unusual shape.
 The “dancing” shape is supported
by 99 concrete panels, each a
different shape and dimension.
On the top of the building is a
large twisted structure of metal
nicknamed Medusa.
 In the middle of a square of
buildings from the eighteenth and
nineteenth century, the Dancing
House has two main parts.
 The first is a glass tower that
narrows at half its height and is
supported by curved pillars; the
second runs parallel to the river
and is characterized by undulating
mouldings and unaligned windows.
 This design was driven mainly by
aesthetic considerations: aligned
windows would make evident that
the building has two more floors,
although it is the same height as
the two adjacent nineteenth
century buildings.
 The windows have protruding
frames, such as those of paintings,
as the designer intended for them
to have a three-dimensional
 The winding mouldings on the
facade also serve to confuse
perspective and diminish contrast
with the surrounding buildings.
 Born On August 11,1932
 Birth Place : newark, New
 He First Rose To Prominence As A
Member Of The New York Five (A
Group Of Five Architects) :
Eisenman, Charles Gwathmey,
John Hejduk, Richard Meier,
Michael Graves
 These Architects’ Work At That
Time Was Considered A
Reworking Of The Ideas Of Le
 Later On Eisenman Became More
Affiliated To Deconstructivism
 It Was Designed By A Group Of Architects Led By Peter
 Construction Was Expensive And Challenging As The
Design Of The Buildings Involves High Degree Contours,
Meant To Make The Buildings Look Like Rolling Hills
 Nearly Every Window Had Its Own Custom Shape
 It Includes A Library, The Archive Of Galicia, A Museum
And Central Services Building Museum Of Galicia
 It Is Also Known As
Holocaust Memorial
 It Is A Memorial In Berlin To
The Jewish Victims Of The
Holocaust, Designed By
Eisenman And Engineer Buro
 It Consists Of 4.2 Acre Site
Covered With 2,711
Concrete Slabs/Stelae
Arranged In A Grid Pattern
On A Sloping Field
 It Took 1 Year For Its
 It Was Designed To Produce
An Uneasy And Confusing
 Bernard Tschumi (born 25
January 1944 in Lausanne,
Switzerland) is an architect,
writer, and educator, commonly
with deconstructivism.
 He works and lives in New York
City and Paris.
 He studied in Paris and at ETH
in Zurich, where he received his
degree in architecture in 1969.
 During the 1970s, through
drawings and written texts,
Bernard Tschumi insisted that
there is no architecture without
events, without actions or
 It is the third-largest park in Paris,
55.5 hectares in area, located at
the northeastern edge of the city
in the 19th arrondissement.
 The Parc de la Villette has a
collection of ten themed gardens
that attract a large amount of the
park’s visitors.
 Each garden is created with a
different representation of
architectural deconstructionism
and tries to create space through
playfully sculptural and clever
 While some of the gardens are
minimalist in design, others are
clearly constructed with children
in mind.
 Le "Jardin du Dragon" (The Garden
of the Dragon) is home to a large
sculptural steel dragon that has an
80 ft slide for children to play on.
 The "Jardin de la Treille" (Trellis Garden) designed by Gilles Vexlard and
Laurence Vacherot.
 Vines and creepers are going along a roof trellis and 90 small fountains
designed so that you only really hear the murmur of them in between the
grape vines.
 7 Sculptures de visées (Sculptures Bachelard) by Jean-Max Albert are installed
all around and an anamorphosis refection is displayed in a small pool.
 The gardens range in function; where some gardens are meant for active
engagement, others exist to play off of curiosity and investigation or merely
allow for relaxation.
 The Blue Condominium, also
known as the Blue Tower, is
located in the Lower East
Side neighborhood of New York
City at 105 Norfolk Street.
 Designed by Bernard Tschumi, it
is his first residential and first
high-rise structure.
 At 16 stories tall, it opened in
2007 with 32 condominium
apartments, a ground floor
commercial space occupied by
the Thierry Goldberg Gallery, and
a third floor roof terrace for
 Commercial at the ground floor
with residential above is a
common method of programming
space in urban residential
 The tower is not LEED certified.
 Born May 12, 1946) is
a Polish-
American architect, artist, p
rofessor and set designer.
 His portfolio also includes
several residential projects.
 His buildings include
the Jewish Museum in Berlin,
Germany, the extension to
the Denver Art Museum in
the United States, the Grand
Canal Theatre in Dublin
 The jewish museum (judisches
museum berlin) completed in
1999 and opened in 2001 is one
of the largest Jewish Museums in
 In three buildings, two of which
are new additions specifically
built for the museum by
architect Daniel Libeskind two
millennia of German-Jewish
history are on display in the
permanent exhibition as well as
in various changing exhibitions.
 STAR represents Jewish history
and culture throughout the
history of Berlin and its absence
in the present-day city.
 ZIG-ZAG LINE represents the
atrocities done on Jewish
 The Jewish Museum essentially consists of two buildings –
 A baroque old building (that formerly housed the Berlin Museum).
 A new deconstructivist-style building by Libeskind
 The two buildings have no visible connection above ground and the
new one is accessible only via an underground passage from the old
 No entry from new building
 The Jewish Museum is clad chiefly with titanium-covered zinc which
will oxidize and turn bluish as it weathers.
 Completed :- 2006.
 Actual Name :- Frederic C. Hamilton Building.
 Total Area :- 1,46,000 Sq. Ft.
 Completed In Association With Davis Partnesrship.
 It Is A Kind Of City Hub, Tying Together Downtown, The Civic Center, And
Forming A Strong Connection To The Golden Triangle Neighborhood.(The New
Modern Society In Contrast To The Old Denver Areas).
 The Project Is Not Designed As A Stand Alone Building, But As Part Of A
Composition Of Public Spaces, Monuments And Gateways In This Developing Part
Of The City.
 Materials Used In Construction Are Majorly Glass And Titanium. (9000 Panels Of
Titanium Have Been Used).
 The Austrian firm Coop Himmelb(l)au,
which now has offices in Los Angeles and
Guadalajara as well as Vienna, is often
credited with producing the first
realizations of Deconstructivist
architecture in Europe.
 The cooperative’s rooftop law office
extension in their home city raised
eyebrows when it was erected in 1988
with its parasitic appearance, and its
Funder factory building in St. Veit Glan,
Austria was certainly eye-catching.
 In 1998, Coop Himmelb(l)au completed
the UFA-Cinema Center in Dresden,
Germany, which consists of two
volumes: the ‘Crystal’, a massive glass
lobby and public square that seems to
lean precariously to one side, and the
‘Cinema Block’, which holds eight
cinemas with seating for 2600.
 New Jersey-based architect Peter
Eisenman designed the first major
public Deconstructivist building in
America, the 1989 Wexner Center for
the Arts at Ohio State University.
 The Wexner Center was something of
an experiment in Deconstructivism;
it’s certainly not a blank, passive
space for the display of art but meant
to be a dynamic work of art within
 It’s a five-story, open-air structure
featuring a prominent white gridwork
that resembles scaffolding in order to
appear intentionally incomplete, in a
permanent state of limbo.
 These very design ideas have caused
significant controversy because, in
some cases, they interfere with the
function of the building, such as fine
art exhibition spaces where direct
sunlight could potentially damage
sensitive works of art.