Deciphering Deconstructivism: Analysing Deconstructivism through Creative Psychology
Guide: Vanita Verma Mentor: Bhawna Dandona Neeru Gupta
DISSERTATION IN ARCHITECTURE 2016-2017
Submitted by:
LAVANYA VASHIST 13002053/SSAA/B.Arch./13
SUSHANT SCHOOL OF ART AND ARCHITECTURE
BONAFIDE CERTIFICATE
This Dissertation is submitted by LAVANYA VASHIST, student of Fourth Year B. Arch. Session 20162017, at Sushant School of Art and Architecture, Gurgaon, as partial requirement for the Five Year B. Arch. Degree course of Ansal University, Gurgaon.
Originality of the information and opinion expressed in the Dissertation are of the author and do not reflect those of the guide, the mentor, the coordinator or the institution.
Signature of the Student: Roll No.: AU130010301136p Name: LAVANYA VASHIST Date: Signature of the Guide: Name: VANITA VERMA Date: Signature of the Mentor: Name: BHAWNA DANDONA & NEERU GUPTA Date:
STATEMENT FOR DISSERTATION PREPARATION
1. Dissertation Title: ……………………………………………………………………………… 2. Dissertation Guide was referred to for preparing this Dissertation. 3. Specifications regarding Dissertation format have been closely followed as per the Template. 4. The contents of the Dissertation have been organised as per the Template. 5. The Dissertation has been prepared without resort to plagiarism. 6. All sources used have been cited appropriately. 7. The Dissertation has not been submitted elsewhere for a degree.
Signature of the Student: ………………………………………………… Roll No: ………………… Name: ………………….………………………………….…………………………………………… Dissertation submitted on 5th December 2016
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ACKNOWLEDGEMENTS
I would like to express the deepest gratitude to my dissertation guide Ms Vanita Verma, for her direction, support and perception. Without her guidance and persistent help this dissertation would not have been possible. From research to composing, I couldn't have finished this without the immense support of my Mentors, Ms. Bhawna Dandona and Ms. Neeru Gupta. In addition, I am grateful to the librarian Mr. Dey for his support and kindness. I thank the Sushant School of Art and Architecture for its vast library.
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LIST OF TABLES/ FIGURES, LLUSTRATTIONS Fig 1: Villa Savoy- Le Corbuzier Source: https://upload.wikimedia.org/wikipedia/en/3/3c/VillaSavoye.jpg Fig 2: Suprematism- Malevich’s Architectons Source: https://rosswolfe.files.wordpress.com/2014/03/architecton-maleviche12862249737091.jpg?w=800 Fig 3: Emergence Source: http://redgramliving.com/wp-content/uploads/2014/11/Emergence-Gestalt-Awareness.jpg Fig 4: Reification Source: https://s-media-cache-ak0.pinimg.com/236x/50/d8/2f/50d82fd99c811d494e53f82 50e26e011.jpg Fig 5: Multistability Source: https://delphinedesmet.files.wordpress.com/2008/02/necker_cube_and_impossible_cube.png ?w=354&h=166 Fig 6: Invariance Source: http://www.iro.umontreal.ca/~ostrom/dift6095 /GestaltIsomorphism_files/block0.gif Fig 7: space and emotion Source: http://ichef.bbci.co.uk/wwfeatures/624_351/images/live/p0/1q/z6/p01qz68t.jpg Fig 8: visual stimulus Source: https://drupalize.me/sites/default/files/blog_post_images/crab-circle-diagram.jpg Fig 9: types of lines Source: http://www.familyresourcemanagement.org/wp-content/uploads/2013/07/line-types.jpg Fig 10: Illusory Movement Source: http://www.anopticalillusion.com/wp-content/uploads/2012/08/ouchi-600x600.jpg Fig 11: Jewish Museum Source: https://pixelmaedchen.files.wordpress.com/2013/05/architecture.jpg Fig 12: Scheider, Guenter, Aerial View of Jewish Museum Berlin Source: http://libeskind.com/wp-content/uploads/aerial-view-c-guenter-schneider.jpg Fig11: axes of Jewish Musuem Source: self Fig14: form of Jewish museum Source: self Fig15: voids Source: self
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iii Fig 16: garden of exile http://blog.sofitel-berlin-kurfurstendamm.com/wp-content/uploads/2014/09/Jewish-Museum-Gartenof-Exile.jpg Figure 17: garden of exile Source: https://fcit.usf.edu/holocaust/ PICS34/BJM60.jpg Figure 18: Nastasi, Michele, exterior view garden of exile, 2280x2874 Source: http://libeskind.com/wp-content/uploads/exterior-view-garden-of-exile-cmichele-nastasi2280x2874.jpg Figure 19: tower of holocaust Source: https://mir-s3-cdn-cf.behance.net/project_modules/disp/bb809f746083.5600ad6776965.jpg Fig 20: Axes of Jewish Musuem Source: https://s-media-cacheak0.pinimg.com/originals/ee/d5/8a/eed58a12201754489cd9ad5d0d71d93f.jpg Fig 21: Section Through Museum Showing Underground Access Source: http://3.bp.blogspot.com/_svAyYhspKJw/TIRfWJSI7oI/AAAAAAAAIRc/8_v7G10u2k/s1600/CORTE.jpg Fig 22: floor plans Jewish Museum Source: https://interlab100.files.wordpress.com/2014/11/dre.png Fig 23: memory void Source: https://upload.wikimedia.org/wikipedia/ commons/c/cf/Jewish_Museum_Berlin_02.JPG Fig 23: axes of continuity Source: http://www.e-architect.co.uk/images/jpgs/berlin/berlin_jewish_museum_95_il06.jpg Fig 24: aerial view of Jewish musuem Source: https://upload.wikimedia.org/wikipedia/commons /thumb/d/dd/JewishMuseumBerlin.jpg/300px-JewishMuseumBerlin.jpg Fig 25: holocaust tower Source: http://www.thebrusselsprouts.me /wp-content/uploads/2013/08/holocaust-tower1.jpg Fig 26: lighting in axis of continuity Source: https://www.inexhibit.com/wp-content/uploads/2014/07/xjewish-museum-berlin-libeskind02.jpg.pagespeed.ic.zI1SDf3o2c.jpg Fig 27: window drama Source: http://larryspeck.com/wp-content/uploads/2011/09/2014-1191.jpg Fig 28: Guggenheim Museum Source: http://3tgmli1sbjtj2hpytw6t8lw1.wpengine.netdna-cdn.com/wp-content/uploads/2015/04/0bilbaoabout.jpg
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iv Fig 29: ship form of Guggenheim Source: http://i1.wp.com/www.theurbandeveloper.com/wp-content/uploads/GuggenheimMuseum_.jpg?resize=700%2C352 Fig 30: aerial view Source: https://moreaedesign.files.wordpress. com/2010/09/google.png?w=700 Fig 31: Guggenheim and fish Source: http://c1038.r38.cf3.rackcdn.com/group1/building6485/media/htkb_dsc_1076w.jpg Fig 32: plan Source: http://2.bp.blogspot.com/_svAyYhspKJw/S9GKS7D35zI /AAAAAAAAFxU/4VPVZVy6YYM/s400/planta.jpg Fig 33: entrance Source: http://images.adsttc.com/media/images/521f/a073/ e8e4/4ebd/9000/006a/large_jpg/Flickr_User_Viajar_sin_Destino.jpg?1377804398 Fig 34 : Guggenheim central atrium Source: https://carrigmanblog.files.wordpress.com /2015/05/guggenheimfirst.jpg Fig 35 : Guggenheim entrance Source: http://images.adsttc.com/media/images/ 521f/a06d/e8e4/4eb9/4a00/0036/large_jpg/Flickr_User_mimmyg.jpg?1377804390 Fig 36: Parc de la Villette Source: http://www.tschumi.com/media/files/00367.jpg Fig 37: systems in Parc de la Villette Source: https://commons.mtholyoke.edu/architectul blog/wp-content/uploads/sites/158/2015/12/ points_lines_surface_2.jpg Fig 38: schematic Source: https://thearchiblog.files.wordpress.com/ 2011/01/slide1718.jpg Figure 39: bikeway in front of folly Source: http://onfaitquoimaman.typepad.fr/photos/uncategorized/2008/10/13/folies_la_villette.jpg Fig 40: systems for construction of folies Source: https://s-media-cache-ak0.pinimg.com/originals/45/25/17/452517 b3c29ebf1975fd099e2887a283.jpg
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Deciphering Deconstructivism
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ABSTRACT When people in the late twentieth century became disenchanted with the Modernism and Postmodernism movements, a few innovative architects and a philosopher almost changed the outlook of the masses. Deconstructivist buildings were complex and chaotic just like the lifestyle of humans who used them. It used freedom in design in order to create customised forms that rarely could be replicated. But like every new revolution, it too received criticism. Deconstructivist movement has been criticised for the lack of guidelines set as its foundation. Hence many anti-deconstructivists dismiss it as a movement specifically designed to showcase the complex styling of an architect. Deconstructivism in architecture has often been compared to modern art with respect to its characteristics and emphasis on aesthetics.1 Its complex form captures the attention of the viewer as they subconsciously try to simplify solve the form of the building. This pattern finding process of the human mind has been documented with respect to art in the 20th century and has been further explained in Gestalt theory. Gestalt theory explains the generalisation of object due to perception which was then explained in terms of psychology by Jacques Derrida who talks about the concept of metaphysics and logocentricism. These theories in turn gave rise to various other phenomena such illusory movement and dynamics of forms. These can be used to decipher the deconstructivism movement. This research will deal with analysis of deconstructivist buildings on the basis of parameters set using “ Art and Visual Perception - A Psychology of the Creative Eye� by Rudolf Arnheim, a master in Gestalt theory applied to arts in order to justify the intentions of architects of a few iconic deconstructivist projects.
Johnson, Phillip & Wigley, Mark. Deconstructivist Architecture: The Museum of Modern Art, New York. Little Brown and Company, 1998 1
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TABLE OF CONTENTS Acknowledgements……………………………………………………………………………………….i List of Tables/Illustrations/Figures……………………………………………………………………….ii Abstract…………………………………………………………………………………………………v
Chapter 1: Introduction ............................................................................................................................................. 1 1.1 Origin of Deconstruction .................................................................................................................. 1 1.2 Theories by Jacques Derrida ......................................................................................................... 1 1.3 Deconstructivism in Architecture ...................................................................................................... 2 1.4 Characteristics ................................................................................................................................... 3 1.5 Criticism ............................................................................................................................................... 4 Chapter 2: Art, Visual Thinking and Creative Psychology ............................................................................ 5 2.1 Gestalt Theory .................................................................................................................................. 5 2.2 Concept of Space ............................................................................................................................. 6 2.3 Visual Stimulus ................................................................................................................................... 7 2.4 Semiotic Expression .......................................................................................................................... 8 2.5 Illusory Movement ............................................................................................................................. 8 Chapter 3: Parameters for Form Analysis ........................................................................................................ 10 3.1 Context and Concept .....................................................................................................................10 3.2 Shape and Form .............................................................................................................................10 3.3 Space and Balance .......................................................................................................................10 3.4 Movement and Tension ..................................................................................................................11 3.5 Light, Colour and Materiality .......................................................................................................11 Chapter 4: Form Analysis of Deconstructivist Buildings .............................................................................. 12 4.1 Jewish Museum, Berlin—Daniel Libeskind
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4.2 Guggenheim Museum, Bilbao—Frank Gehry ...........................................................................18 4.3 Parc de la Villete, Paris—Bernard Tschumi ...............................................................................22 Chapter 5: Conclusion .......................................................................................................................................... 25 Bibliography .............................................................................................................................................................. 26
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Deconstructivism is a development of postmodern architecture that began in the late 1950s. It is characterized by fragmentation, an interest in manipulating a structure's surface, skin, non‐rectilinear shapes which appear to distort and dislocate elements of architecture, such as structure and envelope. The finished visual appearance of buildings that exhibit deconstructivist "styles" is characterized by unpredictability and controlled chaos
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1: Introduction The Merriam Webster Dictionary defines deconstruction as follows: “the process of breaking down/ dismantling objects into its components; To analyze (a literary text) in such a way as to expose its underlying assumptions or implicit ideological stance; and adapting (a genre, style, or form) in a way that isolates familiar elements from their usual context in order to imply an ironic comment on unspoken values of the original”2
1.1: Origin of Deconstruction The concept of Deconstruction was first introduced by Austrian psychologist Sigmund Freud in 1890s. In order to find answers for the psychological disorders plaguing his patients, Freud would “deconstruct” their speech and memories in order to identify the source of the problem in order to find its solution. In the field of Linguistics, the Deconstruction theory was founded by French philosopher Jacques Derrida who was inspired by Ferdinand de Saussure and Sigmund Freud. His theory sparked widespread controversies when professionals in many creative as well as technical fields began supporting his method.3
1.2: Theories by Jacques Derrida “One could say that there is nothing more architectural in nature than deconstruction but also nothing less architectural. Architectural thinking can be deconstructive only in the following sense: as an attempt to visualize that which establishes the authority of architectural concatenation in philosophy; what connects deconstruction and thought is spatiality”4(Derrida 1990) He developed the following theories that led to the very foundation of theory of deconstruction.
Metaphysics of presence Language especially in terms of speech has always been seen as superior to writing as it becomes a product of passage, gestures and emotions of the speaker, and interpretation of the listener.5 There is always a metaphysical presence or a suggestion in a sentence. He argues that it is derived from the westerners’ quest to find truth in everything to which he says that there is nothing outside the context, but as context is relative it can be moulded to interpretation accordingly. We like to believe that everything has a straightforward answer and there are specific rituals to get them, but in reality there are multiple answers and exponential ways to find them, it all depends on the context we prefer.
Deconstruction, Merriam Webster dictionary, last modified on 12 May 2016, http://www.merriamwebster.com/dictionary/deconstruction 3 Beardsworth,. Derrida and the Political. London and New York: Routledge, R. 1996, p. 4 4 Derrida, Jacques. Interview with Peter Brunette and David Wills, The Spatial Arts: Derrida, translated by laurie volpe, april 28, 1990 5 Ibid. 2
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2 He talks about “thereness” of a piece of art. In order for it to exist there needs to be a countersignature to it that validates its creation.6 He distinguishes between thereness and experience. Thereness is simply the existence of the object but experience is the combination of events occurred, dislocations and interpretations. An event is a joint process between maker and receiver. An analysis that is exhaustive doesn’t count. For an event to take place there shouldn’t be any pre decided programs so that the event itself forms the program. If one does this in an exhaustive way, it would negate its existence. “Taciturnity is the silence of something that can speak, whereas we call mutism the silence of a thing that can’t speak” 7(Derrida 1997) A spatial work of art projects mutism as its meaning can be interpreted in various ways. Just like tonal modulations can change the interpretation of a sentence; texture, materiality and its form can change the design. This tone helps in relativity. Space isn’t just a visual but a conductor of emotions that are provoked due to conditions or elements provided by the path, surface and form.
Phallogocentricism Derrida argued that language has words that can be bent and shaped in multiple ways to project different meanings. Hence, unless a sentence has a definitive point, it can be interpreted in different ways according to the persons’ understanding. The meaning becomes relative as language itself is based on relativity.8 Humans by nature are very logocentric and often attach specific meanings to gestures/objects etc. in order to maintain a better grasp on the situation. Both these theories set the foundations for deconstruction theory that was supported by a few architects who, after being inspired by his outlook paved the way for deconstructivism in Architecture that sprang up as a reaction to Modernism and Post Modernism.
1.3: Deconstructivism in Architecture Many architects disagreed with the propaganda of modernism. According to some, the modern movement was very impersonal as the scales were humongous and the buildings began displaying monumental and formal characteristics.9 The spaces were separated according to their functions and functionality became the focus, Fig 1: Villa Savoy- Le Corbuzier Source: https://upload.wikimedia.org /wikipedia/en/3/3c/VillaSavoye.jpg Derrida, Jacques Interview: architecture where desire may live and edited by Neil leach, Rethinking architecture, Routledge 1997 7 Ibid. 8 Derrida, Jacques. Interview with Peter Brunette and David Wills, The Spatial Arts: Derrida, translated by laurie volpe, april 28, 1990 9 Hays, K.M., ‘Deconstruction Today’, Oppositions Reader,. New York: Princeton Architectural Press. 1998 6
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3 which often came at the price of aesthetics. Pure geometry was sought after and the building interiors were segregated according to activities that were never put together as a cohesive and comprehensive whole. The interiors and exteriors were never really integrated hence there remained a clear disjunction between the two. As the shapes were very clean, concise and closed, the overall vibe of the spaces formed did not evoke the sense of interaction.10 In the field of architecture, deconstruction seemed to bifurcate into two school of thoughts--- those who followed the theories by Jacques Derrida such as Peter Eisenmen, Bernard Tschumi and Daniel Libeskindand those who were inspired by Russian constructivism. Architects such as Coop Himmelbau and Zaha Hadid were inspired by Kazimir Malevich, and Alexander Rodchenko who worked with assemblage of abstract rectangular and wedge forms.11 In 1988, Museum of Modern Art held an exhibition which
Fig 2: Suprematism- Malevich’s Architectons Source: https://rosswolfe.files.wordpress .com /2014/03/architecton-maleviche12862249737091.jpg?w=800
was curated by Mark Wigley and Phillip Johnson. This exhibition brought the movement into limelight; therefore it gathered fame as well as notoriety.12
1.4: Characteristics “Deconstructivism is characterized by fragmentation, an interest in manipulating a structure's surface, skin, non-rectilinear shapes which appear to distort and dislocate elements of architecture, such as structure and envelope. The finished visual appearance of buildings that exhibit deconstructivist "styles" is characterized by unpredictability and controlled chaos.”13(Derrida 1997) The forms may not follow the five orders of architecture i.e. datum, axis, symmetry, rhythm and hierarchy. Pure forms are exploded and sliced then put back together forming an abstraction of its origin. As quality of spaces differ, forms become more spatial in nature and also dynamic. Feelings and aesthetics are taken into account rather that functionality; forms are not related to single functionality. Multi-functional intersected spaces are created.14 Pleasantness is not the only effect taken into account; unease, distorted and disrupted forms are often used to project emotions and combinations are used so as to challenge our pre decided notions of space.
Venturi, Robert, Complexity and Contradiction in Architecture, The Museum of Modern Art Press,1966 Rickey, George, Constructivism: Origins and Evolution. George Braziller,1995 12 Johnson, Phillip & Wigley, Mark. Deconstructivist Architecture: The Museum of Modern Art, New York. Little Brown and Company, 1998. 13 Derrida, Jacques Interview: architecture where desire may live and edited by Neil leach, Rethinking architecture, Routledge 1997 14 Johnson, Phillip & Wigley, Mark. Deconstructivist Architecture: The Museum of Modern Art, New York. Little Brown and Company, 1998. 10 11
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1.5: Criticism “And, as always, the polarization will increase the tension, for there definitely is polarization around deconstruction—those who say it is reactionary and those who say its revolutionary.”15(Derrida 1990) “The architects, in order to fell superior and exclusive use forms that are highly expensive in terms of construction and the clients merely want to showcase new technologies.”16 (Frampton 1980) Kenneth Framptom finds it "elitist and detached" and considers it a formal exercise with no relationship to human interaction.17 Other criticisms are similar to those of deconstructivist philosophy—that since the act of deconstructivism is not an empirical process, it can result in whatever an architect wishes, and it thus suffers from a lack of consistency. 18 “Deconstructivist architecture can be described as the product of a group of architects creating their own cult by defining new style of building.”19(Salingaros 2008) Nikos A Salingaros believes that architecture should be connected to religion as it provides structure and maintains order. He calls deconstructivism a "viral expression and anti-scientific” which causes disruption in harmony and has no internal logic or greater purpose and classifies deconstructivists as a “cult “that just wants to achieve a fan following and vandalize structure of society.20 The antidecontructivists often criticise this movement for the lack of any guidelines as its foundation that gives the architects freedom to create whatever monstrosity they feel like. Some compared the structures to modern abstract painting and sculptures remarking on the fact that the movement focuses more on aesthetics, which is true; Modern art movements such as minimalism and cubism also influenced deconstructivism. Just as forms and content are dissected and viewed from different perspectives simultaneously in Analytical cubism a synchronicity of disjoined space is evident in many of the works of Frank Gehry and Bernard Tschumi.21 Deconstructivism tends to produce a sense of dislocation both within the forms and between their contexts by breaking continuity, blurring boundaries between interior and exterior, and dissociating exterior and context. The lack of order and purity in form often triggers the pattern finding part of the human mind. This effect can be broadly explained with the help of Gestalt theory. Keeping its similarities with modern art in mind, it is only fair to apply the rules of creative psychology to decipher the deeper and emotional language of deconstructivism.
Derrida, Jacques. Interview with Peter Brunette and David Wills, The Spatial Arts: Derrida, translated by laurie volpe, april 28, 1990 16 Frampton, Kenneth,Modern Architecture, a critical history. Thames & Hudson,1992 17 Ibid. 18 Curl, James Stevens, A Dictionary of Architecture and Landscape Architecture, Oxford University Press. 2006 19 Salingaros, Nikos, "Anti-Architecture and Deconstruction", Umbau-Verlag, Solingen, Germany. 2008. 20 Ibid. 21 Chakraborty, Judhajit; Deconstruction: From Philosophy to Design, Arizona: Arizona State University, 2006 15
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The gestalt effect is the capability of our brain to generate whole forms, particularly with respect to the visual recognition of global figures instead of just collections of simpler and unrelated elements (points, lines, curves, etc.). In psychology, gestaltism is often opposed to structuralism. Gestalt theory, it is proposed, allows for the deconstruction of the whole situation into its elements
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CHAPTER 2: Art, Visual Thinking & Creative Psychology 2.1: Gestalt Theory “Gestalt means when parts identified individually have different characteristics to the whole (Gestalt means "organized whole")”22 (Soegaard 2012) The human mind generates whole forms instead of parts and elements with respect to global figures. Elements such as lines, surfaces and forms come together to create an illusion of a complete image which is the byproduct of our preconceived notions. This pattern solving effect is termed as Gestalt effect. In psychology, gestaltism refers to deconstruction of similar elements in order to find solutions. This is inspired from methods of Sigmund Freud and is opposite to structuralism.23 The principles of gestalt system are emergence, multistability, invariance and reification.
Emergence The woman in the picture is the product of automatic problem solving by the human mind. Alone these dots don’t carry any significance but when placed in proximity to each other, they form sensory stimulus that tries to find patterns in complex compositions. 24 Fig 3: Emergence Source: http://redgramliving.com/wpcontent/uploads/2014/11/Emergence-Gestalt-Awareness.jpg
Reification It is based more on spatial information than the sensory stimulus on which it is based. For example: the figure on right gives the perception of a cube, though it doesn’t exist. Illusory contours are treated as definite boundaries by the mind that autocompletes the images with just the spatial arrangement of the forms.
Fig 4: Reification Source: https://s-media-cacheak0.pinimg.com/236x/50/d8/2f/50d8 2fd99c811d494e53f8250e26e011.jpg
Multistability It is the ambiguity in perception of forms that are unstable due to bleeding of a form in one plane into another plane. Due to this the form becomes open to multiple interpretations. This can be observed in the Necker cube.25 Fig 5: Multistability Source: https://delphinedesmet.files.wordpress.com/necker_cube.png?w=354&h Soegaard, Mads. "Gestalt Principles of form Perception". Interaction Design. Last modified 8 April 2012. https://www.interaction-design.org/literature/book/the-glossary-of-human-computer-interaction/gestaltprinciples-of-form-perception 23 Ibid. 24 "Gestalt Isomorphism". Sharp.bu.edu. Archived from the original on 2012-02-17 25 Ibid. 22
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Invariance Invariance is the property of perception by which an object in any degree of rotation, distortion or scale can be recognized by its geometrical shapes. For example, the cube in A and B is immediately recognizable even when the same basic shape, is portrayed at a different angle. It is even recognized despite elastic deformations as in C, and when depicted using different graphic elements as in D. Fig 6: Invariance Source: http://www.iro.umontreal.ca/~ostrom/dift6095/Gestalt_reader/Gestalt%20Isomorphism_files/block0.gif
The explanation for this phenomena can be attributed to the factors upon which people tend to group visual elements—Similarity, Continuation, Closure, Proximity, Figure/Ground, Symmetry and order.26 Gestalt theory when applied to architecture opposes the purity of structuralism and rather supports the emergence and psychological impact of Deconstructivism. Phallogocentricism theory by Derrida can be explained through this theory. The generalisation of complex perception can be attributed to the following concepts: space, visual stimuli, illusory movement and semiotic expression.
2.2: Concept of Space A place is not a metaphysical reminiscence of history, but rather the impact of deconstruction, dislocation
and
confinement
where
the
presence of event has come to engrave itself into space, regardless of connection to the surroundings, therefore separating itself from itself since its source. Hence one should consider (Fig 7: space and emotion Source: http://ichef.bbci.co.uk/wwfeatures/624_351 /images/live/p0/1q/z6/p01qz68t.jpg
space not as the surface where the trace of its origin is stored intact with its characteristics, always settled, and are disseminated, yet as
the component of the connection to the otherness, where an individual and its adaptability is conceivable. Architecture, in fact, with its material and, at the same time, symbolic presence, fills up not only space but also time, it fills up the space for the time to come. It imposes its presence to the future, a rigidly structured space, a coercive space where the possibility of the relation to the other has already been anticipated and calculated at the level of the project, a space where, therefore, the other has already been rejected, ostracized, avoided because of its feared irreducible otherness.27 "Gestalt Isomorphism". Sharp.bu.edu. Archived from the original on 2012-02-17 Derrida, Jacques Interview: architecture where desire may live and edited by Neil leach, Rethinking architecture, Routledge 1997 26
27
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7 This is what Derrida understands as event: the possibility of the future (to-come) in its non-foreseeable otherness, as the irreducible condition where the relation to the other can take place.
2.3: Visual Stimulus “When the eyes meet a particular picture for the first time, they are faced with the challenge of the new situation: they have to orient themselves; they have to find a structure that will lead the mind to the picture’s meaning. If the picture is representational, the first task is to understand the subject matter. But the subject matter is dependent on the form, the arrangement of the shapes and colours, which appears in its pure state in “abstract,” non-mimetic works.”28(Arnheim 1982) The human mind responds to every cognitive stimulus
with
emotions.
It
forms
judgments
subconsciously, which is derived from history, experiences and culture. Hence, the visual perception is coloured in the same way. Therefore, no form can be judged purely on its aesthetics and structure; it’s the experience and Fig 8: visual Stimulus Source: https://drupalize.me/sites/default /files/blog_post_images/crab-circlediagram.jpg
the emotional impact that defines it.
“In particular Henry Schaefer-Simmern, inspired by theories of Gustaf Birtsch, has given a deal of practical thought to the artistic process. He had confirmed the assertion that the mind, in its simple struggle for an orderly conception of reality, proceeds in a lawful and logical development from the perceptually simplest patterns to increasing complexity”29 (Arnheim 1982) This means that the subconscious mind breaks down the complex form into various familiar objects in order to satisfy the problem solving quotient of the pyche. The same is true for deconstructivism. By using excessive dramatic shapes deconstructivism gives the mind a cognitive stimulation that engages it work so hard to find logic that it automotically remember the emotions generated by the space. This therefore concludes that the process of looking at an object is a sum of our cultural inheritance and the brain’s quest to find logic.
Rudolf Arnheim, Visual Thinking and Power of the Center- Study of Composition in the Visual Arts, University of California Press, 1982. 29 Rudolf Arnheim, Art and Visual Perception- A Psychology of the Creative Eye, University of California Press, 1965, pg ix 28
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2.4: Semiotic Expression The eyes are not mechanical recording devices hence they are not conditioned to capture every minute detail of the project. It captures the basic form of the object and then using logic generates it. Hence, for more information on detail, some parts need to “stand out” and not just crate a generalized form. Three dimensional objects are bound by two dimensional surfaces that are made up of one dimensional boundary. These boundaries are the prime factors that impact human psyche. The structure’s composition as well as its position plays a very important role in its emotional impact: Just like wavy lines become ornamental as they appear very graceful
Fig 9: types of lines Http://www.familyresource management.org/wpcontent/uploads/2013/07/l ine-types.jpg
and aesthetic. Diagonal lines are often used to depict excitement and sensation as it appears more forceful and hence attracts more attention towards itself in a composition. Curved lines express movement and dynamism. While the line is mainly intellectual in character, the two dimensional surface is emotional, full of fantasy and activity. Different surfaces also give different vibes. Convex surfaces are most closely aligned with a feeling of satisfaction as they appear full. Concave surfaces indicate fascination as they are rare and unusual. For the ultimate dramatic effect, many cubists such as Picasso used tilted vertical lines instead of straight ones. Oblique position produces a strongly dynamic effect. A tilt produces an actual change in shape when no axis of the pattern is strong enough to prevent its replacement.30
2.5: Illusory Movement “Static compositions move and flow according to the directionality inside them. Lines, shapes, and textures carry energy and tension based on orientation, position, nearness to other elements, etc. This energy and tension create directional forces in the composition.”31(Lucio-Meyer 1973) The basic principle applied to deconstructivism is its poly centred perception of form. The forms typically seen in deconstructivism are not centered on one part as a highlight. Instead, every part is made equally arresting. This causes a hindrance as multiple pathways of vision are generated. This time lapse in information receiving and decoding causes a sensation of illusionary movement, as the process of looking at it takes time and logic. Figure 10: Illusory movement Source: http://www.anopticalillusion.com/wpcontent/uploads/2012/08/ouchi-600x600.jpg Derrida, Jacques Interview: architecture where desire may live and architecture, Routledge 1997 31 JJ de Lucio-Meyer, Visual Aesthetics, Harper and Row publishers, 1973 30
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edited by Neil leach, Rethinking
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Gestalt theory basically, is the subconscious grouping of objects to form a cognisable pattern. It explains the concept of generalisation by human brain. This pattern finding adds a fourth dimension of movement to a 3 dimensional object. A buildings premise/concept, context and form work together to convey a special sort of meaning to its viewer. Rudolf Arnheim was a German-born author, art and film theorist, and perceptual psychologist. He learned Gestalt psychology from studying under Max Wertheimer and Wolfgang Kรถhler at the University of Berlin and applied it to art. Rudolf Arnheim suggested three factors that determine the direction of vision in a design---Attraction to the visual weight of surrounding elements, the shape of the object along its axis and the visual direction and action of the object. In Art and Visual Perception, he tries to use science to better understand art, still keeping in mind the important aspects of personal bias, intuition, and expression. Visual Thinking (1969) challenges the differences between thinking versus perceiving and intellect versus intuition. In it Arnheim critiques the assumption that language goes before perception and that words are the stepping stones of thinking. Sensory knowledge allows for the possibility of language, since the only access to reality we have is through our senses. Visual perception is what allows us to have a true understanding of experience. He also argues that perception is identical to thinking, and that artistic expression is another way of reasoning. In The Power of the Center: A Study of Composition in the Visual Arts (1982), Arnheim addresses the interaction of art and architecture on concentric and grid spatial patterns. He argues that form and content are indivisible, and that the patterns created by artists reveal the nature of human experience.
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Source: https://s‐media‐cache‐ak0.pinimg.com/564x/f4/43/05/f443052e291eace2a14fe5d9a6e389bc.jpg
In the visual arts, shape is a flat, enclosed area of an artwork created through line, texture, colour or an area enclosed by other shapes. Likewise, a form can refer to a three‐ dimensional composition or object within a three‐dimensional composition.
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Chapter 3: Parameters for Form Analysis “The distribution or arrangement of figure is devised in agreement with the conditions one desires the action to represent”32
3.1: Context and Concept The context of the building affects the design as it forms a premise for the concept. Space is the interval between areas. Space refers to the dimension in which all the external factors such as topographical, historical or cultural all come together to define the form of the building. These external factors are not only interrelated but also interdependent on each other.33
3.2: Shape and Form A two dimensional shape becomes a three dimensional form. In a design the form of the surfaces play a crucial role in defining the experience of the place. Perceptual shape may change considerably when it’s spatial orientation or its environment changes. Visual shapes influence one another. The shape of an object is determined not only by its boundaries; the skeleton of visual forces created by the boundaries may, in turn, influence the way boundaries are seen. Shape also depends on memories or experiences we’ve had with a particular object. The shape of an object is depicted by the spatial features that are considered essential. Simplicity, effect of Distance, Levelling and Sharpening, Pieces, Similarity. Form covers the modulations of solids and their transformed properties such as tapering, twisting, concavity and convexity.34
3.3: Space and Balance Space comprises of the backdrop for a design. It accentuates the form and creates depth. In deconstructivism spaces are often overlapped to aid concept. The relationship between positive and negative spaces greatly affects the overall experience of the design. The disproportionate amount of negative space accentuates vulnerability and isolation.35 Balance sets the premise for visual perception. It is achieved by stability, symmetry and visual weight. Any location which coincides with a feature of the structural skeleton/axis introduces an element of stability, which may be counteracted by other factors. The structural skeleton serves as a frame of reference by helping determine the role of each pictorial element within the balance system of the whole Da Vinci, Leonardo, https://en.wikiquote.org/wiki/Leonardo_da_Vinci, retrieved November 2016 Rudolf Arnheim, Art and Visual Perception- A Psychology of the Creative Eye, University of California Press, 1965 34 Ibid. 35 Ibid. 32 33
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3.4: Movement and Tension This aspect not only covers circulation but also visual and kinaesthetic movement of forms. Various characteristics effect the dynamic perception such as the size and arrangement of forms, their deviations from norm, colour and depth and complexity.36 Tension, in fact is the reason for such static movement. A visually weighty/heavy object grabs more attention. Position: The corners and the centre are “magnets of unequal power”. The point of balance between a corner and centre lies somewhat closer to the corner, as if the centre was stronger. Visual Weight: Visual weight can be generated by many factors such as Dynamic effect, Position’s influence, Depth’s influence, Size’s influence, Colour’s influence, Isolation, Shape’s simplicity, Compactness, Shape’s orientation, & Knowledge’s influence. Visual Direction: Weights attraction, Structural skeleton, Subject matter and Movement, Top versus Bottom, Environmental orientation, Retinal orientation and Right versus Left. Oblique orientation is probably the most effective means of directing tension.37
3.5: Light, Colour and Materiality Light highlights depth and relief in forms. By creating contrast with light and shadows, the architect gives importance to certain spaces. Not only is this phenomenon manipulated by forms but also by materials and cladding that reflect or absorb light. It depicts the openness of the form and its weight visually.38 Colour sets the mood of the place. Hues of a colour in tints or tones are responsible for the psychological experience of a place. The colours affect the warmth of the place and also the scale of an object. The preference in colours is also dependant on its significance in the regional culture.39 Materiality and texture of an object add tactility. Textures act as a medium for transfer of emotionality of an object.40
Rudolf Arnheim, Art and Visual Perception- A Psychology of the Creative Eye, University of California Press, Ibid. 38 Ibid. 39 Ibid. 40 Ibid. 36 37
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Source: https://assets.paddle8.com/863/418/27340/27340‐1393715129‐Tschumi_Bernard.jpg
“The structure of the grid and of each cube leaves opportunity for chance, formal invention, combinatory transformation, wandering” ‐Jacques Derrida 1986
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Chapter 4: Form Analysis of Deconstructivist Buildings 4.1: Jewish Museum, Berlin—Daniel Libeskind The Berlin government announced a competition in1988 for the design of a new block for existing Jewish museum. Daniel Libeskind’s design was chosen for his unique approach towards the form of the building. He proposed a zig-zag design later dubbed as “Blitz” form that didn’t function merely as an extension to the existing urban fabric but went against the context in order to highlight the paradoxical relationship between the material history of the history of Berlin and its invisible Jewish past. Other aspects of materiality and light are employed to illicit an emotional response in visitors that might assist them to identify with the pain and suffering of the Jewish people, thereby generating a more cohesive overall experience. 41
Figure 11: Jewish Museum Source: https://pixelmaedchen.files.wordpress.com/2013/05/architecture.jpg
41 Karen
Breslau, "The New Face of Berlin", Newsweek. New York, 3 February 1992, pg 60–62.
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Context and Concept Context:
the
form
and
materiality of the new wing is in sharp contrast to the originally existing
eighteenth
century
Baroque building. The architect instead of attempting visual harmony
goes
against
the
context in order to highlight the paradoxical Figure 12: Scheider, Guenter, Aerial View of Jewish Museum Berlin Source: http://libeskind.com/wp-content/uploads/aerial-view-c-guenterschneider.jpg
between the past and present.
The conceptual relationship with the invisible Jewish past is explored by introducing the idea of three major axes—of continuity, holocaust and exile—which recreate the Jewish experience in Germany. The three linear axes lead to three major design elements: the exhibition space, the holocaust tower and the garden of exile respectively. Figure 13: axes of Jewish Musuem Source: self
Shape and Form The distorted Star of David can be seen as a symbolic form generator.
Figure 14: form of Jewish museum Source: self
The voids in the building, along with the voided stairwell in the Kollegienhaus and the voided space of the Holocaust Tower, represent the absent history of Jewish experience in Berlin. Absence is symbolized by voids that are on parallel axis with the Kollegienhaus. Overall the voids have a vertical character to them with small opening that
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relationship
Figure 15: voids Source: self
14 gives the experience of claustrophobia and imprisonment.
Figure 16: garden of exile http://blog.sofitel-berlin-kurfurstendamm.com/wpcontent/uploads/2014/09/Jewish-Museum-Garten-ofExile.jpg
Figure 17: garden of exile Source: https://fcit.usf.edu/holocaust/ PICS34/BJM60.jpg
Navigating through the garden of exile with its two storey high concrete tree planters and its sloping ground is a powerful, disorienting experience. From the axis of exile the expectation of escape into free air with trees is thwarted by this experience. The sloping repetitive columns give the effect of being lost. Figure 18: Nastasi, Michele, exterior view garden of exile, 2280x2874 Source: http://libeskind.com/wp-content/uploads/exterior-view-garden-ofexile-cmichele-nastasi-2280x2874.jpg
Due to its sharp trapezium shape and double height, Tower of holocaust gives one a feeling of fear and imprisonment. With only one small opening, it gives a feeling of being trapped and oppressed. Figure 19: tower of holocaust Source: https://mir-s3-cdncf.behance.net/project_modules/disp/bb809f7 46083.5600ad6776965.jpg
Movement and Tension The external skin of the building continues with the mapping exercise and serves to connect the built form to berlin’s Jewish and German heritage. The overall emphasis is on the form of the building. The blitz form allows multiple axes to exist.
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15 The axis of continuity leads the visitor to the exhibition spaces, but the visitor is forced to ascend a lond flight of stairs to the top floor to reach there. The seemingly endless flight of stairs forms a narrow passage, with the intersecting volumes cutting across
the
staircase
and
works as a reminder of the difficulty
and
struggle
inherent in this continuity. Fig 20: Axes of Jewish Musuem Source: https://s-media-cacheak0.pinimg.com/originals/ee/d5/8a/eed58a12201754489cd9ad5d0d71d93f.jpg
Fig 21: Section Through Museum Showing Underground Access Source: http://3.bp.blogspot.com/_svAyYhspKJw/TIRfWJSI7oI/AAAAAAAAIRc/8_v7G10u2k/s1600/CORTE.jpg
There is no visible entrance to the new wing apart from the underground passage from the old wing. The entrance to the ‘present’ is literally embedded from the ‘past’. This relationship is further reinforced by letting the staircase cut through all the floors of existing structure. The form of the building has many points that demand tension: Where the axes of continuity forces people to keep going in one direction, the dynamic shape of the building allows movement into the intersecting axes. Each turn of the building is met by an axis that leads to exhibition spaces. Even the slits in the walls create tension.
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Fig 22: floor plans Jewish Museum Source: https://interlab100.files.wordpress.com/2014/11/dre.png
The internavoid spaces also use the power of sound to create a similarly uncomfortable experience. The void of fallen leaves echoes the sound of visitors walking on metal discs, which is meant to recreate the feel of torchured human cries. Fig 23 : memory void Source: https://upload.wikimedia.org/wikipedia/ commons/c/cf/Jewish_Museum_Berlin_02.JPG
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Light, Colour and Materiality The element of light is used to generate different experiences within the building. The external faรงade has been slashed in order to create layered slits that continue the formal vocabulary. Overall the building is devoid of colours except for grey that highlights the sombre environment in the building. The voids are cast with concrete and the exterior is clad with zinc. Fig 23 : axes of continuity
The rough finishing of concrete plays with the notions of abandonment and Source: http://www.earchitect.co.uk/images/jpgs imprisonment.
/berlin/berlin_jewish_museu m_95_il06.jpg
Fig 24 : aerial view of Jewish musuem Source: https://upload.wikimedia.org/wikipedia/commons /thumb/d/dd/JewishMuseumBerlin.jpg/300pxJewishMuseumBerlin.jpg Fig 25 : holocaust tower Source: http://www.thebrusselsprouts.me /wp-content/uploads/2013/08/holocausttower1.jpg
Fig 26 : lighting in axis of continuity Source: https://www.inexhibit.com/wpcontent/uploads/2014/07/xjewish-museum-berlin-libeskind02.jpg.pagespeed.ic.zI1SDf3o2c.jpg
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Fig 27: window drama Source: http://larryspeck.com/wpcontent/uploads/2011/09/2014-1191.jpg
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4.2: Guggenheim Museum, Bilbao—Frank Gehry
The Guggenheim museum, Bilbao was the result of an architectural competition to design a cultural landmark for the town of Bilbao. Frank Gehry’s design, with its unique treatment of forms and materials, create an iconic landmark that would transform Bilbao into a world famous tourist destination. The design extends this interplay between the two roles of the building as cultural artefact and as a functional object to other aspects of built for, and various elements of the programme and envelope are rethought and modified in response to one another.42
Fig 28: Guggenheim Museum Source: http://3tgmli1sbjtj2hpytw6t8lw1.wpengine.netdna-cdn.com/wp-content/uploads/2015/04/0bilbaoabout.jpg
42
Tyrnauer, Matt. "Architecture in the Age of Gehry", Vanity Fair, August 2010, accessed March 27, 2012
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Shape and Form To serve its complex as a vibrant landmark the building resorts to a dynamic formal composition. Gehry uses the analogy of a fish whose contorting forms are abstracted and captured in elevation the analogy builds on the nautical theme of the ship and dynamism of the river.
Fig 31: Guggenheim and fish Source: http://c1038.r38.cf3.rackcdn.com/group1/building6485/media/htkb_dsc_1076w.jpg
The contorted forms draped with the metal skin are in the state of perpetual change as a respond to the movement of the observer and the sun across the sky. The sculptural forms along the river edge extend under the bridge and rise up on the other side, including it into the folds of the building design and forming a gateway into the city. The sculptural tower along the La Salve Bridge forms a gateway to the city. The form itself takes cues from the river an resembles a sail captured in motion. Along the river edge, the overall form is curved to align with the flow of water. A reflective metal cladding is used to build on the reflective nature of the river surface, so that the entire design seems to rise out of the geography of the site. Using plan as a traditional form generator, the overall building section is first developed through a simple extrusion of the plan, defining external walls. This simple extruded form is then eroded by organic forms of the sculptural
roof
as
they
extend
downwards to generate interesting internal volumes. The organic forms of the curved roof are seemingly draped over the orthogonal extrusions of the plan,
and
the
overall
form
is
Fig 32: plan
developed as a responsive interplay Source: http://2.bp.blogspot.com/_svAyYhspKJw/S9GKS7D35zI /AAAAAAAAFxU/4VPVZVy6YYM/s400/planta.jpg between these two elements.
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Context and Concept The designs competition for the Guggenheim museum Bilbao aimed from the start to make an iconic cultural landmark, not only to promote the arts and make the city a centre for cultural tourism but also to create a monument of civic pride to bring together the disparate parts of the city and give them a sense of collective identity. The nautical imagery is appropriate given the city’s history and industrialised maritime centre whose early fortune were derived from its nineteenth century ship building industries.
Fig 29: ship form of Guggenheim Source: http://i1.wp.com/www.theurbandeveloper.com/wp-content/uploads/GuggenheimMuseum_.jpg?resize=700%2C352
In response to the triangular nature of the site and a strong presence of a river and a bridge as edge conditions, the design is developed as three radiating arms that reach out towards various elements of the urban landscape and bring them together through a tall structural focal point. The overall design can be seen as responsive interplay between the program and the envelope. The two city-side galleries and the curved-riverside Fig 30: aerial view Source: https://moreaedesign.files.wordpress. gallery are distributed across a diagonal axis. The com/2010/09/google.png?w=700 three spaces are brought together through a depressed central atrium space that acts as vortex. The disparate parts of the programme are then wrapped together in a titanium skin to form a cohesive whole.
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21 The overall form is composed of two distinct selections—the rectilinear usable spaces that form the base of the building and the organic and sculptural forms that generate the iconic outline of the roof. Only the lower half of the building provides usable floor space. As a viewer approaches the building the patterns of overall forms give way to other details that correspond to the human scale
Movement and Tension The lobby area brings the textural interplay into the interior. Towards the river a large canopy marks presence of central entrance lobby. Towards the city the entrance is obscured and the viewer is obliged to descend below the plaza level. The skin of the building is very fluidic in nature due to use of organic forms. The titanium faced acts as a tension director.
Fig 33: entrance Source: http://images.adsttc.com/media/images/521f/a073/ e8e4/4ebd/9000/006a/large_jpg/Flickr_User_Viajar_sin_Destin o.jpg?1377804398
Light, Colour and Materiality Skylights provide natural light, leaving envelope to act as a wrapper. The texture generated by over lapping titanium panels further mimics the scales of a fish. The shallow dents created by the fixing clip for each of the panels enhance shimmering effect as the surface appears to reflect sunlight. The textural play of titanium against glass and stone enlivens the entire build mass.
Fig 34 : Guggenheim central atrium Source: https://carrigmanblog.files.wordpress.com /2015/05/guggenheimfirst.jpg
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Fig 35 : Guggenheim entrance Source: http://images.adsttc.com/media/images/ 521f/a06d/e8e4/4eb9/4a00/0036/large_jpg/Fli ckr_User_mimmyg.jpg?1377804390
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4.2: Parc de la Villette, Paris—Bernard Tschumi The park was designed by Bernard Tschumi, who in partnership with Colin Fournier, built it from 1984 to 1987 on the site of the slaughterhouses and the national wholesale meat market, as part of an urban redevelopment project. Tschumi won a major design competition in 1982–83 for the park, and took inputs from of the deconstructionist philosopher Jacques Derrida in the preparation of his design proposal.43 Bernard Tschumi designed the Parc de la Villette with the intention of creating a space that exists in a vacuum, something without historical precedent. The Parc de la Villette strives to act as merely a frame for other cultural interaction. As part of Tschumi’s overall goal to induce exploration, movement, and interaction, he scattered ten themed gardens throughout the large expansive site that people would stumble upon either quite literally or ambiguously. Each themed garden gives the visitors a chance to relax, meditate, and even play.44
Fig 36 : Parc de la Villette
Source: http://www.tschumi.com/media/files/00367.jpg
43 44
Tyrnauer, Matt. "Architecture in the Age of Gehry", Vanity Fair, August 2010, accessed March 27, 2012 Ibid.
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Shape and Form
The architect designed the park in three systems—points, lines and surfaces. Instead of coordinating them to form a unified whole, he superimposed them on each other. As each system has their own specific purposes, they tend to clash.
Fig 37: systems in Parc de la Villette Source: https://commons.mtholyoke.edu/architectul blog/wp-content/uploads/sites/158/2015/12/ points_lines_surface_2.jpg
Fig 38: schematic Source: https://thearchiblog.files.wordpress.com/ 2011/01/slide1718.jpg
Light, Colour and Materiality
Figure 39: bikeway in front of folly Source: http://onfaitquoimaman.typepad.fr/photos/uncategorized/2008/10/13/folies_la_villette.jpg
Water bodies, cobbled pathways, asphalt cycle tracks, green parks and red follies overall create an interactive environment. Each folly is unique and is usually located near a scenic view. The red colour of steel folies create a mood of activity.
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Movement and Tension
Fig 40: systems for construction of folies Source: https://s-media-cacheak0.pinimg.com/originals/45/25/17/452517b3c29ebf1975fd099e2887a283.jpg
Follies act as main tension points. They are constructed with repetition, fragmentation, distortion and superimposition. These follies attract attention and are usually placed near a scenic view or public building. The primary axis and the paths around the park serve as circulation.
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Source: https://static.dezeen.com/uploads/2015/08/d.jpg
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Chapter 5: Conclusion Just like modern art had its share of criticism, anti-deconstructivists reject deconstructivism purely on basis of lack of order followed in the forms. By applying and analysing the buildings on the basis of creative psychology, patterns begin to emerge. As deconstructivism is mainly semiotic in nature. This combination of analysis works well, as one tends to simply complex forms into simple forms that they already have pre-conceived notions upon. Setting parameters such as Shape, Form, Movement, Tension, Light, Colour and Materiality the reason for their existence as thought by their respective architects begin to emerge.
In Jewish museum, Libeskind wanted to portray the emotions of Jewish community during the world war two. In order to complete his quest, he employed the used of sharp forms, distortions and repetition. The three linear axes lead to three major design elements: the exhibition space, the holocaust tower and the garden of exile. The materiality, light as well as aspect ratio reflect on the sombre mood inside. In the case of Guggenheim Museum, Bilbao, Gehry uses various modulations in form in order to create drama. The concept is based on nineteenth century ship and the curvature is inspired by koi fishes. The organic forms of the curved roof are seemingly draped over the orthogonal extrusions of the plan, and the overall form is developed as a responsive interplay between these two elements. For Parc de la Villette, Tschumi envisioned a park that instead of being static and relaxing in nature, should be interactive and promote activity. Folies that are traditionally just decorative have been made such that they can be used by people. This project is one of the few in which the architect creates a situation in which the viewer feels engaged to participated in. using folies as beacons, he promoted a sort of treasure hunt. Three systems have been used in this park—points, lines and surfaces. Each has an individual identity and when superimposed, tends to clash with the others. This intention of clashing circulation with a fixed volume intended for multiple activities. This phenomenon encourages participation among people.
Creative psychology, thus justifies the intention of the deconstructivist architects. Having a building that is in sync with human psyche but doesn’t follow any rule is better than one which is in sync with all the orders of architecture yet disconnected with human nature.
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BIBLIOGRAPHY Beardsworth,. Derrida and the Political. London and New York: Routledge, R. 1996, p. 4 Chakraborty, Judhajit; Deconstruction: From Philosophy to Design]. Arizona State University, 2006 Curl, James Stevens, A Dictionary of Architecture and Landscape Architecture, Oxford University Press. 2006 Deconstruction, Merriam Webster dictionary, last http://www.merriamwebster.com/dictionary/deconstruction
modified
on
12
May
2016,
Derrida, Jacques Interview: architecture where desire may live and edited by Neil leach, Rethinking architecture, Routledge 1997 Derrida, Jacques. Interview with Peter Brunette and David Wills, The Spatial Arts: Derrida, translated by laurie volpe, april 28, 1990 Frampton, Kenneth,Modern Architecture, a critical history. Thames & Hudson,1992 "Gestalt Isomorphism". Sharp.bu.edu. Archived from the original on 2012-02-17 Hays, K.M., ‘Deconstruction Today’, Oppositions Reader,. New York: Princeton Architectural Press. 1998 JJ de Lucio-Meyer, Visual Aesthetics, Harper and Row publishers, 1973 Johnson, Phillip & Wigley, Mark. Deconstructivist Architecture: The Museum of Modern Art, New York. Little Brown and Company, 1998. Karen Breslau, "The New Face of Berlin", Newsweek. New York, 3 February 1992, pg 60–62. Rickey, George, Constructivism: Origins and Evolution. George Braziller,1995 Venturi, Robert, Complexity and Contradiction in Architecture, The Museum of Modern Art Press,1966 Salingaros, Nikos, "Anti-Architecture and Deconstruction", Umbau-Verlag, Solingen, Germany. 2008. Soegaard, Mads. "Gestalt Principles of form Perception". Interaction Design. Last modified 8 April 2012., https://www.interaction-design.org/literature/book/the-glossary-of-human-computerinteraction/gestalt-principles-of-form-perception Rudolf Arnheim, Art and Visual Perception- A Psychology of the Creative Eye, University of California Press, 1965 Rudolf Arnheim, Visual Thinking and Power of the Center- Study of Composition in the Visual Arts, University of California Press, 1982.
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