Simplicity was giving way to complexity, calm to intensity, static form and space to dynamic form and space, order to apparent disorder, linearity to non-linearity, analog to digital. Deconstructivism in its diversity and focus on difference acknowledged the individuality that industrialized modernism stamped out. Man in the form of the modulor was no longer the norm or ideal because, after all, there were women, and everybody came in all colors, heights and shapes. Architecture was not a machine for living in.
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The very notion of a renaissance whole was put on the couch, revealed as a fiction, along with functionalist Bauhaus modernism, based on notions of serial industrial production and the normative. Read: Deconstructivism exhibition aimed "to rock the boat" says Mark Wigley
In the 1970s, chaos science and later post-structuralist theory led to built manifestoes of explosion, collision and fragmentation, an off-the-grid, out-of-plumb architecture in which out-of-register building systems agreed to disagree.
Late to a table that was already set by preceding discoveries and movements in art, science, literature, and philosophy, deconstructivism finally arrived under its own banner after the second world war, most notably in the 1960s when Frenchmen Claude Parent and Paul Virilio denied the classical horizontal and modernism's vertical by theorizing and practicing architecture on the oblique. Two world wars, the depression, Hiroshima and the Holocaust demolished the notion that history evolved smoothly in a gradual continuum: time had proved susceptible to catastropohic, asymmetrical events.Īll the transgressive and progressive thought systems and disruptive histories that roiled Europe before and after world war one, along with abrupt social change and continuing geopolitical shifts, set the stage for deconstructivism long before its formal advent. Later, the 20th century's white-hot, post-perspectival art movements – cubism, futurism, suprematism, rationalism, surrealism, expressionism, and Dada – further challenged pictorial realism by questioning factual space.ĭeconstructivism finally arrived under its own banner after the second world war In art, Cezanne challenged perspective, scrambling pictorial space by chunking it into pieces. In science, Einstein, Planck, Bohr, and Heisenberg did the same in science, introducing relativity and probability: the world, and geometry, were no longer quite solid.
In philosophy, Friedrich Nietzsche loosened certainty by challenging the existence of God, ultimately freeing Bergson, Heidegger, Derrida and Foucault to dwell in speculative uncertainty. That speculation, among others, opened a black hole of doubt that would eventually swallow established traditions of art, science and philosophy. Questioning Euclid effectively doubted the whole construct of space ordered by perspective and the grid, doubting the realism and rationality coming down from classical times, the renaissance and the enlightenment. Read: Deconstructivist architecture "challenges the very values of harmony, unity and stability"
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