In addition, another article about the separation of deconstruction architecture from modernism and postmodernism is Complexity and Contradiction of Architecture 1966 published by robert venturi in Opposition magazine. The main points of post-modernism and deconstruction architecture are complexity and contradiction, which is contradictory to the purity and conciseness of modern times. Since the publication of the article, the two branches of modernist architecture-functionalism architecture and rationalism architecture are being subverted by postmodernism and deconstruction architecture paradigm. Postmodernism interprets Fan's article as: decoration and historical hints can enrich architecture, which is abandoned by modernism. Postmodern architects are even committed to reusing decorations in economic and small buildings, which is a hard-working place properly described by Rob Van Jolie's concept of decorative huts. The rationalism of design gradually disappears, but the functionalism of architecture remains unchanged to some extent. This is very close to Fan's other great work [2]. He thinks that symbols and decorations can be applied to actual buildings and gradually instills the philosophical complexity of semiotics.
Deconstructionists in the Furniture Museum of Vitera Furniture Company designed by Frank Gehry have completely different interpretations of the complexity and contradiction in architecture. The infrastructure under deconstruction is full of problems and complex themes, and it is not separated for decoration. For example, the post-modernist Fan did not separate decoration from function, so the function of architecture was questioned. Geometry is a complex subject for deconstructionists, just as decorations are for post-modernism, and conversely, geometry is also complex. This also applies to deconstructing the function, structure and space of buildings. An example of the complexity of deconstruction architecture is frank gehry's Weicha Design Museum in Weicheng on the Rhine, which is a modernist art museum. It uses a typical and simple white cube and deconstructs it by using cubist geometric memory and abstract expressionism. When adopting modernism, especially those international styles, its white plaster skin is a starting point, which subverts the simple functional aspects of modernism. Another example of explaining the complexity and contradiction of architecture is Peter? Wechs Art Center in eisenmann. He took the castle as the prototype, and then instilled a series of cutting complexity and fragmentation. Some three-dimensional grids run through the building at will. As a reference accessory in modernism, the grid collided with medieval castles. Some grids deliberately do not fall to the ground, hovering on the stairs to produce a feeling of nervousness, which conflicts with the structural purpose of the column. Wechs Na Art Center deconstructs the prototype of the castle and returns to its space and structure in a way of conflict and difference. The installation art of Peter eisenmann in the courtyard of Castela Vicio Museum in Verona, Italy (a stopped garden) For architectural theory, the main channel of deconstruction philosophy is influenced by philosophers jacques derrida and Peter eisenmann. Eisenmann realized a set of philosophy from the deconstruction of the literary movement and the cooperation with Derrida in the election project of La Villette Park in Joura L Works. Derrida, eisenmann and Daniel Liebkin care about the metaphysics present. [3] This has also become the main topic of deconstruction philosophy of architectural theory. The dialectics of "here" and "not here" or "reality" and "emptiness" is common in eisenmann's construction projects. Both Derrida and eisenmann believe that place is architecture, and the dialectics of "here" and "not here" exists in architecture and deconstruction. [4]
Derrida believes that when it comes to the classical interpretation structure, it is best to explain the text. The deconstruction of any building requires the existence of some prototype building. This is the constant expectation of flexibility and strength. [5] The design of Frank Gehry's own Santa Monica residence is regarded as a prototype change of the standard theme. At first, it was just an ordinary residence. Later, Gary changed the use of weight and space and borrowed some spoof elements. This is an example of deconstruction architecture. [6]
In addition, regarding Derrida's concepts of metaphysics and deconstruction, his concepts of disappearance and erasure are hidden in his philosophical articles. [7] Many of Libus King's early works are conceived in the form of words or speeches, and often involve specific forms of poetry. He conceived architectural sculptures from books, and often covered the model surface with words, making his buildings his words. Liebskin adopted the concepts of tracking and erasing in his articles and projects of the Jewish Museum in Berlin. The museum is conceived as a trace of disaster and fading out, with the intention of making its theme easy to understand and full of sadness. For example, the memorial to Vietnamese veterans in Lin Ying and the memorial to murdered Jews in Europe in eisenmann also embody the theme of disappearance and erasure. 1925 The inspiration of large-scale buildings such as "Iron Cloud" by El Lisicki comes from Russian constructivism and futurism in the early 20th century.
Naum Gabo, El Lisicky, Malevik and Alexander Roshenko, these artists have influenced architects such as Zaha Hadid and Cooper Himell (L) O in the composition of geometric forms. Deconstruction and constructivism are both about the construction of abstract mixed sets. Cubism and minimalism, two schools of contemporary art, have influenced deconstruction architecture. Analytical cubism has a real influence on deconstructive architecture, because both form and connotation are observed and analyzed from different angles at the same time. The simultaneity of separating space appears in many of Frank Gehry's works. The influence of comprehensive cubism on deconstructive architecture is not as good as that of analytical cubism, but it can still be found in Frank Gehry's early works. Both deconstructive architecture and minimalism have symbols that are divorced from cultural reference and conceptual art.
Expressionism and expressionist architecture have a tendency of deformation and dislocation, which is related to deconstruction architecture. At that time, deconstruction architecture implied some branches of expressionism, such as neo-expressionism and abstract expressionism. The Ufa Film Center in Dresden, Germany, has a pointed appearance and was designed by Austrian avant-garde Blue Sky Company, which is reminiscent of abstract geometry in Klein's paintings. The appearance of Ufa Film Center is like the street view of German city written by German painter Kirchner. Wassily kandinsky's works also have the style of deconstruction architecture. His abstract expressionism movement and deconstruction architecture refused to decorate geometric figures in the same spirit. Computer-aided design has become an important tool of contemporary architecture in many aspects, but for deconstruction, computer is more suitable. Stereo models and animations help designers conceive very complex spaces. When computer-aided production is connected with computer model, it can promote the mass production of many components at affordable cost, and these components are only slightly different. Looking back at many early deconstructive architectural works, such as Zaha Hadid's manuscripts, many of them show that they are computer-aided, but they are not. Frank Gehry attracted people's attention because he made many models like computer models.