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Explain Derrida's theory of deconstruction
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Deconstruction in Architecture
Deconstruction is first developed by the French philosopher Jacques Derrida. The definition for deconstruction is not easy to understand, and Derrida and his interpreters actually intend it to be difficult. It was first meant a method of interpretation and analysis of a text or a speech. He introduced the concept of deconstruction in connection with his linguistic philosophy and grammatology. When deconstruct a text or a speech, it is to draw out conflicting logics of sense and implication, with the object of showing that the text never exactly means what it ways or says what it means . Though, it has been applied not only to text but also to the visual arts and architecture.
The approach of deconstruction in architecture is to get architects to think of things in a new way, to view architecture in bits and pieces. Also to develop buildings which show how differently from traditional architectural conventions buildings can be built without loosing their utility and still complying with the fundamental laws of physics. Especially in 1988, when deconstruction was first promoted in architecture. Different architects of different places seemed to be placing buildings and bits of buildings at odd angles so that they clashed and even penetrated each other. The geometry in these architectures had been set up, but has at least one overlaid and clashed with the other. Also, there are many different kinds of clashes such as: clashes in historic and modern, clashes in plan, clashes in section or elevation, clashes in three dimensions, clashes in grids and clashes in angles.
Deconstructionist architecture must start from deconstruct the construction at first, with a name indicates its schemes, its intuition and its concepts, or its rhetoric. Deconstruction also contains an insight of fundamental importance for the historian¡¦s conception of what he or she is doing. It uses theory to understand history, and history to understand the theory to construct a more perceptive view of the cultural and social. As deconstructs a structure, it strictly meets the terms of architectural construction and the philosophical construction of the concept of architecture. Therefore, deconstruction is understood to be un-problematically architectural, as it combines with the idea of the system in philosophy, and theory, also the practice and logic ...
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...re of architecture. The fundamental idea of architecture consists of primary forms such as cubes, cones, cylinders, and cetera. Although, deconstructionist architecture made clear to the observer that the architecture is an art and not just an engineering discipline, and it is a representation of a material that represent of abstract data. Although deconstructionist architecture does not succeed in the nature of architecture, however, deconstruction is philosophical in the sense that it deploys a distinctive mode of argument in raising certain problem about knowledge, meaning and representation. My opinion on deconstruction is that some of the architecture can be really beautiful but others can be strange.
Bibliography
¡P C. Andreas, Reconstruction Deconstruction, Academy Group LTD, 1989, USA
¡P H. Kevin, Trespass of the sign: deconstruction, theology and philosophy,
¡P N. Christopher & B. Andrew, What is Deconstruction, Academy Editions LTD, 1996, USA
¡P S. Bronwyn, Contemporary Discourse in Interior Architecture and Design ¡V Unit Reader 2002, Monash University, 2002, Melbourne
¡P W. Mark, The Architecture of Deconstruction, MIT Press, 1993, USA
James F. O'Gorman, Dennis E. McGrath. ABC of Architecture. Philadelphia: University of Pennsylvania Press, 1998. Document. October 2013.
Such charges have received insufficient response from deconstruction's top theorists who, though they define and redefine the basic tenets of their approach, fail to justify such an approach in the world. They have explained their purpose, but not their motivation. With this desperate need in mind, then, embarking on any new piece of deconstruction poses a twofold demand: to not only seek to unfold new facets of a text (or texts) through a deconstructive lens, but to aim that lens outside of literature and show its implications in society, away from any ivory tower.
Sam Ridgway in The Representation of Construction emphasizes the role of representation in architecture stating, “The world of architecture is a world of representation” (268). He continues writing, “Architects do not build buildings; they represent them, mainly through drawings, models, words and numbers. In turn, buildings are also interpretations or representation of these mediating instruments and artifacts that precede their construction” (268). It is through realizing that representational tools are “value laden” that contemporary architects may move forward from the “ideological stagnation plaguing most architectural creation” (269). Comparing the preceding eras to the contemporary era, “there is an inverse relationship
Deconstruction or poststructuralist is a type of literary criticism that took its roots in the 1960’s. Jacques Derrida gave birth to the theory when he set out to demonstrate that all language is associated with mental images that we produce due to previous experiences. This system of literary scrutiny interprets meaning as effects from variances between words rather than their indication to the things they represent. This philosophical theory strives to reveal subconscious inconsistencies in a composition by examining deeply beneath its apparent meaning. Derrida’s theory teaches that texts are unstable and queries about the beliefs of words to embody reality.
Interior Decorators such as Elsie de Wolfe, Eleanor McMillen Brown, and Dorothy Draper helped to pave the way for the Interior Design profession today. Their influential decisions to stray away from the Victorian style of design helped guide both the interior decorating profession, as well as architects who no longer wanted to design in the bulky and cluttered Victorian Style. Elsie de Wolfe designed during the Victorian movement, however “had adopted the 1890’s preference for Neoclassicism” (Smith, 22). Unlike the cluttered and dark interiors of an average Victorian interior, her interiors were, “in the words of one visitor, ‘[models] of simplicity’” (Smith, 20).
“Form follows function.” Every great Modern architect thought, designed by and breathed these very words. Or at least, their design principles evolved from them. Modern architects Le Corbusier, Mies van der Rohe, Frank Lloyd Wright, Pierre Chareau, and Rudolf Schindler to name a few believed that the function determined the space whether the space was solely for a particular purpose or they overlapped to allow for multiple uses. Form didn’t just follow function, function defined the space. By focusing on the relationship between the architecture and the interior elements, Chareau’s Maison de Verre expanded the idea of functionalism to include not only the architecture but also the space it creates and how people function within that space.
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It will discuss the different types of dwellings throughout recorded human history from the perspective of how art and culture influences building design. This will fulfill my own curiosity to understand the different influences on homebuilding and design over the years and how people have dealt with these changes.
Hovering above are pillars of concrete and stone. Its rise and collapse determined by history. A combination of art and science designed to create notorious architecture. The necessity for architecture is distant from extinction and continuously transforming itself with the duration of time creating innovative methods of portraying scenic and functional works of art. The Romans and Greeks established a foundation for architecture that maintains its reputation as remarkable acts of beauty.
The essence of modern architecture lays in a remarkable strives to reconcile the core principles of architectural design with rapid technological advancement and the modernization of society. However, it took “the form of numerous movements, schools of design, and architectural styles, some in tension with one another, and often equally defying such classification, to establish modernism as a distinctive architectural movement” (Robinson and Foell). Although, the narrower concept of modernism in architecture is broadly characterized by simplification of form and subtraction of ornament from the structure and theme of the building, meaning that the result of design should derive directly from its purpose; the visual expression of the structure, particularly the visual importance of the horizontal and vertical lines typical for the International Style modernism, the use of industrially-produced materials and adaptation of the machine aesthetic, as well as the truth to materials concept, meaning that the true nat...
Charles Jencks in his book “The Language of Post-Modern Architecture “shows various similarities architecture shares with language, reflecting about the semiotic rules of architecture and wanting to communicate architecture to a broader public. The book differentiates post-modern architecture from architectural modernism in terms of cultural and architectural history by transferring the term post-modernism from the study of literature to architecture.
Architecture is the concept of bringing structure, materiality, form and space together as a whole, provide people with enclosed atmosphere to experience. Considering this, it is important to identify that materiality and the purpose of details has been a key methodology to bringing architectural intentions into the design in an affective manner, more over producing an architectural expression. However, this position is rather declining in architecture, reducing tectonics and materiality to being secondary to form and space. With the start of modernism, the attempt to achieve minimalistic style has caused detailing to increasingly develop into a decorative aspect of a building, neglecting its individual contribution to architecture.
Simon Unwin, the author of the book ‘Analysing Architecture’ says that the ‘the purpose of architecture is to design buildings’ is an unsatisfactory definition because the definition limits architecture to just the design of buildings. He feels that architecture involves more than just designing buildings. He also believes that the definition fails to explain the real purpose of architecture and transfers the problem of comprehending the word ‘architecture’ to the word ‘building’. This definition doesn’t go in-depth to analyze and understand the essence of architecture in our everyday lives. It fails to relate human life and needs to the buildings built.
Through the modern era technologies evolved and avant garde was not just a matter of being ahead in you design concepts,. but also in the materials that you use. Modernist designers, in an obsession of moving forward, where always looking to enhance their ideals with new materials. When the modernist bubble burst the post-modern views came forward, embracing styles and techniques of history, architectures where liberated to be able to blend and combine techniques from throughout history. Contemporary architects, in various forms, continue on with the post-modern legacy of taking inspiration from history and seek out to use traditional building methods not only for convenience but also economical, environmental, contextual and symbolic reasons.
Structuralism was developed by Ferdinand de Saussure in the mid-twentieth century (Cuddon and Preston 923). This creation was brought on, in part, by the French existentialism period and is often combined with the semiotic theory of literary criticism; both are the source of development for other literary criticisms from the formalist schools of thought. As the name suggests, structuralism examines the structure of the work, investigating the ramifications of the organizations of literatures (McManus, 1998). As an image to portray this idea is examining the structure of a building and comparing it to the structures of other buildings in its surroundings, and then subsequently comparing the common features of those buildings to buildings from other cultures and what those architectural discrepancies represent (Brizee and Tompkins, 2011).