Dancing House ,Frank

Gehry

Town Hall Finland ,Alvar

Aalto
Part of the Deconstructivist philosophy was therefore to detach
architecture from 'function' as such and to allow a 'free play' of design.
In a sense to make architecture/design a 'pure' art. It might solve
some of the functional problems but that was not its main purpose.
 1. Explodes architectural form into loose collections of related fragments.
2. Destroys the dominance of the right angle and the cube by using the
diagonal line and the `slice' of space.
3. Uses ideas and images from Russian Revolutionary architecture and design
-Russian Constructivism
4. Searches for more DYNAMIC spatial possibilities and experiences not explored
(or forbidden) by the Modern Movement.
5. Provokes shock, uncertainty, unease, disquiet, disruption, distortion by
challenging familiar ideas about space, order and regularity in the environment.
6. Rejects the idea of the `perfect form' for a particular activity and rejects the
familiar relationship between certain forms and certain activities.

Note that while Memphis designs attack the lack of colour, texture, pattern or
sensuality of the Modern Movement, Deconstructivism attacks the closed and
precise forms and spaces of the Modern Movement. The same design attitudes
are simply directed at different aspects of the design of space.
 There is a fairly clear source for the
origins of such a movement and this
comes from OUTSIDE the area of
architecture and design .
The real origins of Deconstructivism
lie in the work of the Austrian
psychologist Sigmund Freud
(c.1890).
In other words Freud set out to
'deconstruct' the speech of his
patients in order to find the
repressed source of their anxiety
which, once identified and opened
up for discussion would resolve the
problem.
Deconstruction in this psychological
sense simply means a method of
Austrian psychologist Sigmund Freud
interpretation and analysis of a
speech or a text.
Jacques Derrida ,July 15, 1930 October 9, 2004
To pretend, I actually do the thing: I have therefore only pretended to
pretend.
In the 1960s the French philosopher, Jacques Derrida who
had studied the work of Freud, developed and began to
apply this deconstructive technique to the study of
philosophical texts. Derridas approach was as follows:
1. Whereas Freud had listened to what his patients had to
say, Derrida analyzed what other people WROTE, but with
the same purpose in mind. That is to reveal the repressed
ideas which underlay the apparently smooth, elegant and
well-constructed arguments put forward by other
philosophers.

2. He wanted to find the inconsistencies in their ideas by

analyzing the way they wrote them: again the figures of
speech they used and the way they avoided certain
topics which might contradict the coherence of the model
of experience which they had put forward.

3. Derrida believed that no theory could pretend to be

absolutely consistent, logical or present itself as a self-
contained and whole system. If it did, it could only do so
DECONSTRUCTIVISM INTO ARCHITECTURE

Collaborations: Philosophy and Architecture

In 1983, the architect Bernard Tschumi invited the
philosopher Derrida to collaborate with New York
architect Peter Eisenman on a garden for La Villette.
Derrida was working on Plato's Timaeus.
 Bernard
Tschumi

Frank O Gehry Zaha

an introduction to minimalism & decnstructivism.....
 Minimalism describes movements in
various forms of art and design,
especially visual art and music, where the
work is set out to expose the essence or
identity of a subject through eliminating all
non-essential forms, features or concepts.

First is minimalism, which is theoreticly

based upon Mies van der Rohe's quote
"less is more". That is somehow correct,
but rare are those who master design so
well, that can achieve high level of
expression and aesthetics with such
minimum. Not everyone is Mies.
 Deconstructivism and was founded by Bernard Tschumi.

They deny completly everything... Even the orthogonal

geometry that was so obvious for the whole history now
breakes down and is completly irrelavant .

The term de-construct-ivism describes what happens in

someones head; the basic idea of an object (like house,
for example) is smashed [=deconstructed] into smallest
possible pieces, each of them is carefully thaught over
and then re-constructed back with new logic.

A deconstrictivistic arist will ask himself; is this necessary

or can it be done differently. If it can, then how?
Rejection of right angles
There was an equally obsessive attempt to
destroy the predominance of the right angle in
architecture that sign of rationalist order and
of the predetermined.

Galaxy Soho, Zaha

New possibilities.
To reveal those forms, possibilities and
approaches that Modern Architecture had
repressed in order to become 'perfect'.

Cleveland Clinic for Brain Health,

Villa Savoye Las Vegas, designed by Frank
 They deconstructed the forms of Modern Architecture
by creating apparently illogical clashes of grids, spaces
and volumes - breaking open the form of buildings.

Civil court,Valdebebas ,Zaha

They used diagonal lines to destroy the
perfect right-angled geometries of the Modern
Movement.
 JVC Entertainment Centre

They left beams

projecting/unfinished/incomplete, walls broken
and slanted, windows turned at angles, rough
materials, exposed construction methods and
 Another part of the Modern philosophy was that
architecture and buildings were serious issues. Every part
of the building had to be based on a functional problem
and solution. This was a kind of 'scientific' approach to
design. The results of this were, in general, that many
buildings in the 1950s and early 1960s looked faceless
and boring.
They were unable to express the joy, sensuality, tactility
or pleasure which earlier architectures had shown.
These human expressions and sensory needs had been
repressed in favour of scientific rationality. Form, after all,
in the Modern sense was merely an effect of function. It
had no other emotional or sensory purpose of its own.
 February 28, 1929
Take what comes your way. Do the best with
it. Be responsible as you can and something
good will happen, and it has.
Gehry at the start.
Gehry was born Frank Owen Goldbergon February 28, 1929, in
Toronto, Ontario to parents, Irwin and Thelma (ne Thelma Caplan)
Goldberg.
In 1947 Gehry moved to California, got a job driving a delivery truck,
and studied at Los Angeles City College, eventually to graduate from
the University of Southern California's School of Architecture.
Gehry graduated at the top of his class with a Bachelor of
Architecture degree from USC in 1954. Afterwards, he spent time
away from the field of architecture in numerous other jobs, including
service in the United States Army.
In the fall of 1956, he moved his family to Cambridge, where he
studied city planning at the Harvard Graduate School of Design.
In 2004, he designed the trophy for the World Cup of Hockey.
Gehry holds dual citizenship in Canada and the United States.
Gehry's work falls in the style of Deconstructivism, which is often
referred to as post-structuralist in nature for its ability to go
beyond current modalities of structural definition.

Because of this, unlike early modernist structures,

Deconstructivist structures are not required to reflect specific
social or universal ideas, such as speed or universality of form, and
they do not reflect a belief that form follows function.

Gehrys style at times seems unfinished or even crude.

He mainly featured the use of inexpensive found objects and

non-traditional media such as clay to make serious art.

Gehry has been called "the apostle of chain-link fencing and

corrugated metal siding. However, a retrospective exhibit at New
York's Whitney Museum in 1988 revealed that he is also a
sophisticated classical artist, who knows European art history and
Gehry is very much inspired by fish. Not only do they
appear in his buildings. His colleagues are recreating
Greek temples. He said, "Three hundred million years
before man was fish..

Standing Glass Fish is just one of many works featuring

fish which Gehry has created.
The gigantic fish is made of glass plates and silicone,
with the internal supporting structure of wood and
steel clearly visible.
It soars above a reflecting pool in a glass building built
especially for it, in the Minneapolis Sculpture Garden.
 Gehry has gained a reputation for taking the budgets of his clients
seriously, in an industry where complex and innovative designs like
Gehry's typically go over budget.
Sydney Opera House, which has been compared with the
Guggenheim Museum Bilbao in terms of architectural innovation, had
a cost overrun of 1,400 percent.
Gehry explained how he did it.
First, he ensured that what he calls the "organization of the artist"
prevailed during construction, in order to prevent political and
business interests from interfering with the design.
Second, he made sure he had a detailed and realistic cost estimate
before proceeding
. Third, he used CATIA (computer-aided three-dimensional interactive
application) and close collaboration with the individual building
trades to control costs during construction.
However, not all of Gehry's projects have gone smoothly. The Walt
Disney Concert Hall in downtown Los Angeles resulted in over bedget
building.
 In addition to architecture, Gehry has
made a line of furniture, jewelry for
Tiffany & Co., various household items,
sculptures, and even a glass bottle for
Wyborowa Vodka.
His first line of furniture, produced from
1969 to 1973, was called "Easy Edges",
constructed out of cardboard.
Another line of furniture released in the
spring of 1992 is "Bentwood Furniture".
Each piece is named after a different
hockey term.
He was first introduced to making
furniture in 1954 while serving in the
U.S. Army, where he designed furniture
for the enlisted soldiers. Gehry claims
that making furniture is his "quick fix"
Corrugated steel
sheets

Chain link
fencing

Plywood
Guggenheim Museum Bilbao
Bilbao, Spain

Frank Gehrys design for the

Guggenheim Museum in Bilbao,
Spain is so completely
unhindered by traditional rules
that regulate architectural
design that the building has a
sculptural appearance that is
totally independent of any
school of architecture from
history.
Guggenheim Museum at
night

Established October 18, 1997

Location Abando, Bilbao, Spain
Type Art museum
Director Juan Ignacio Vidarte
Exterior inspired by fish

Gehry designed on a computer the moving and

open curvilinear forms that are reminiscent of an
opening flower. The small titanium singles that
sheath the exterior of the building, shimmering in
the sunlight and reflecting the changing colors in
the atmosphere, further emphasize the high tech
origins of the design.
Interiors
The interior is as
exciting as the
exterior, having
rooms in various
shapes and sizes.
The huge atrium has
a network of skylights
above with catwalks
and elevator cages
running throughout
the space below it.
.
Interior Details..
Under the chaotic appearance created by the
opposition of fragmented regular forms with covered
stone, curved forms coated in titanium and large glass
walls, the building is built around a central axis; the
hall, 50 meters high, a monumental empty space
topped by a metal dome.
Around it, a system of curved bridges, glass elevators
and stair towers connecting the 19 galleries spread
over three floors, which combine classic rectangular
space with other unique forms and proportions, all lit
by the dome zenith.
Temporary exhibitions and large-format works have a
place in a gallery of about 30 m. wide and nearly 130
m. long, free of columns, located on the volume that
passes under the La Salve Bridge.
It is very curvy, has a spider sculpture outside of it,
a lot of shapes put together, no windows.
Seen from the river, the form resembles a boat, but seen from
above it resembles a flower.

Built of limestone, glass and titanium, the museum used 33,000

pieces of titanium half a millimeter thick. As these pieces are so
thin, a perfect fit to the curves is necessary. The glass has a special
The building is built with load-
bearing walls and ceilings, which
have an internal structure of metal
rods that form grids with triangles.
The shapes of the museum could
not have succeeded if it did not
use load-bearing walls and
ceilings. Catia determined the
number of bars required in each
location, as well as the bars
positions and orientations. In
addition to this structure, the walls
and ceilings have several
insulating layers and an outer
coating of titanium. Each piece is
unique and exclusive to the place,
determined by Catia
Dancing House,
Prague The Dancing House or Fred and
Ginger is the nickname given to the
Nationale-Nederlanden building in
Prague, Czech Republic, at Ranovo
nbe.

Construction started: 1992

Opened: 1996

Architectural style:Deconstructivism

The building is located on the street

RESSLOVA Street, on the right bank
of the Vltava.
Dancing House at night..
Concept
The Dancing House has two central bodies. The first is a
tower of glass that is close to half height and is supported
by curved pillars, the second runs parallel to the river, which
is characterized by the moldings that follow a wavy motion
and distributed through the windows so the non-aligned .

This solution has been driven mainly by a kind of aesthetic

consideration: the windows lined evidenciaran that the
building has two windows, although they have the same
height as the two adjacent buildings of the nineteenth
century. They also do not have to be perceived in the will of
the designer, as simple forms on a flat surface, but must
achieve the effect of three-dimensionality, hence the idea of
frames as outgoing frames of paintings. Also the winding
moldings on the facade make it more confusing perspective,
diminishing the contrast with the buildings that surround it.
Spaces
On the ground floor are
located and coffee shops
are connected directly
along the river and the
public plaza in front.

The spaces of the second

to the seventh floor are
occupied, however, by
offices, while in the last
level houses a restaurant
with a panoramic view of
the city and the nearby
castle.
Building Materials used
The building, which stretches over an area of
5,400 m2, has been constructed of steel, glass
and precast concrete Clad revoked.

The dome is made of metal tubes and

covered with a mesh of stainless steel.
References
www.wikipedia.com
Blogspot
A Simple Guide
Origins, Sources and Intentions
By ALEX BROWN
www.greatbuildings.com/buildings/Guggenheim_Bilbao
.html
http://en.wikiarquitectura.com/index.php
SUBMITTED BY:
Shilpa Karwa
Preeti Agarwal
Abhishek Uday
Lalit Agarwal
BORN-31 October 1950(age62) BAGHDAD(IRAQ)
INTRODUCTION
Dame Zaha Mohammad Hadid, (born 31
October 1950) is anIraqi-Britisharchitect.
She received thePritzker Architecture Prizein
2004the first woman to do soand the
Stirling Prizein 2010 and 2011.
Her buildings are distinctivelyfuturistic,
characterized by the "powerful, curving forms of
her elongated structures"[1]with "
multiple perspectivepoints and
fragmented geometryto evoke the chaos of
modern life".
Early life and education
She grew up in one of Baghdad's firstBauhaus-inspired
buildings during an era in which "modernismconnoted
glamor and progressive thinking" in the Middle East.
She received a degree in mathematics from the
American University of Beirutbefore moving to study at
theArchitectural Association School of Architecturein
London.
She worked for her former professors, Koolhaas and
Zenghelis, at theOffice for Metropolitan Architecture, in
Rotterdam, theNetherlands; she became a partner in
1977.
Peter Rice, the engineer who gave her support and
encouragement early on at a time when her work seemed
difficult. In 1980, she established her own London-based
practice. During the 1980s, she also taught at the
Architectural Association.
International recognition
In 2002, she won the international design
competition to design Singapore'sone-northmaster
plan. In 2005, her design won the competition for the
new city casino ofBasel, Switzerland.
She is a member of the editorial board of the
Encyclopdia Britannica .
Her architectural design firm,Zaha Hadid Architects,
employs more than 350 people, and is headquartered
in aVictorianformer school building inClerkenwell,
London.
In 2008, she ranked 69th on theForbeslist of "
The World's 100 Most Powerful Women
In 2008, she ranked 69th on theForbeslist of "
The World's 100 Most Powerful Women
COMPLETED PROJECTS
VitraFire Station (1994),Weil am Rhein, Germany
Bergisel Ski Jump(2002),Innsbruck, Austria
Rosenthal Center for Contemporary Art(2003), Cincinnati, Ohio, USA
Hotel Puerta America (2003-2005), Madrid, Spain
BMW Central Building(2005), Leipzig, Germany
Ordrupgaardannexe (2005), Copenhagen, Denmark
Phaeno Science Center(2005), Wolfsburg, Germany
Maggie's Centresat the Victoria Hospital (2006), Kirkcaldy, Scotland
Hungerburgbahnnew stations (2007),Innsbruck, Austria
ChanelMobile Art Pavilion (Worldwide) Tokyo, Hong Kong, New York, London, Paris, Moscow, (2006
08)
Bridge Pavilion(2008), Zaragoza, Spain
Pierresvives(200212),Montpellier, France, project architect: Stephane Hof
MAXXI - National Museum of the 21st Century Arts(19982010), Rome, Italy.[13]Stirling Prize2010
winner.
Guangzhou Opera House(2010),Guangzhou, People's Republic of China.
London Aquatics Centre(2011),2012 Summer Olympics, London, UK.
Riverside Museum(200711) development ofGlasgow Transport Museum, Scotland
CMA CGM Tower(200411),Marseilles, France
Evelyn Grace Academy(200610) in Brixton, London, UK.Stirling Prize2011 winner.
Roca London Gallery(200911) in Chelsea Harbour, London, UK.
Heydar Aliyev Cultural Centre(200712) inBaku, Azerbaijan.[14]
Eli and Edythe Broad Art Museum(201012),East Lansing, Michigan, USA[15]
BMW CENTRAL BUILDING,
GERMANY
INTRODUCTION
TheBMWCentral Building Located in
Leipzig, Germanywas the winning design
submitted for competition byPritzker Prize
winningarchitect,Zaha Hadid. The central
building is the nerve centerforBMW'snew
$1.55 billion complex built to manufacture
theBMW 3 Series Vehicle.
CONCEPT
TheBMWfactory prior to the construction of the
central building existed as three disconnected
buildings,a competition was held for the design of a
central building to function as the physical
connection of the three units.
Hadid'sdesign took this idea of connectivity and
used it to inform every aspect of the new building.
Designed as a series of overlapping and
interconnecting levels and spaces, it blurs the
separation between parts of the complex and creates
a level ground for both blue and white collar
employees, visitors, and the cars.
THE BUILDING
TheBMWCentral building is a 270,000 square feet
(25,000m2) foot facility that makes up only 250,000 square
feet (23,000m2) of the 540-acre (2.2km2) campus. Serving
5,500 employees, the building functions as the most
important piece of the factory, connecting the three
production sheds.
The offices, meeting rooms, and public relations
facilities[8]are all built around these elevated conveyors,
creating an interesting relationship between the employees,
the cars, and the public.
All of the load-bearing walls, floors, and office levels are
made of cast-in-placeconcrete.
While the roof structure is composed of structural steel
beams and space frame construction.
The facade is clad in simple materials of like corrugated
metal, channel glass, and glass curtain walls.
The buildings has received
numerous architectural awards,
including a2006 RIBA European
Award,