Mash up:
Urban buildings need to be in flux, to suggest that while
they may look this way today, they might well be turned into something else
tomorrow. Koolhaas’s modernist dream of total flexibility—designed to be open
to social and programmatic evolution.The process of ‘decentring’ ourselves/our architecture from an imposed system is the dominating principle in deconstructivism. Deconstruction questions solidarity, uniformity, and cohesion. 'Architecture is representation of itself as
construction responding to a purpose' (Peter Eisenman ). It will no
longer aim for stable configurations but for the creation of enabling fields
that accommodate processes that refuse to be crystallized into definitive form
… (Koolhaas 1994) Primacy of form. Eisenman
is not interested in the isolation of modern forms per se; he is interested in
a language and order which uses geometrical solids as absolute points of
reference for any form of architecture. He is looking for an inherent order
derived from a geometric reference.
Koolhaas’s desire as an
architect is to design the stage, not to write all of the lines to be spoken on
it. Eisenman differentiates a subdivision of
form into two types: generic and specific. Deconstructive architecture that appears fragmented, non-linear, with bent/uneven outlines and incomplete forms are indicative of this theory. The final appearances of buildings in this style are characterized by a stimulating unpredictability and a controlled chaos. To be able to
understand volume, he introduces the notions of movement and experience.
References:
- Paul Goldberger , 'The Architecture of Rem Koolhaas', Architectural Digest, 2000, pp1-3.
- Arie Graafl , 'Peter Eisenman: The Formal Basis of Modern Architecture’, Footprint Trans- disciplinary, Autumn 2007, pp. 93-96.
- Rago, D. 'Deconstructive Architecture and Daniel Libeskind', viewed on 21/05/2013, <jsaw.lib.lehigh.edu/include/getdoc.php?id=97>.
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