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Releationship of Deconstructivism with Modernism and Post Modernism

Contentss

INTRODUCTION page 1-2

RELATIONSHIP OF DECOSTRUCTIVISM WITH MODERNISM AND POSTMODERNISM page 3-4

GENERAL INFO page 5-6

-POLITICAL BACKROUND OF TIME

-THE COMPETITION

POINTS-LINES-SURFACES page 7

VILLETTE MEANING page 7

WHAT UNDERSTANDING OF THE FOLLIES DO THE VISITORS HAVE page 8

WHAT IS DECONSTRUCTIVE ABOUT THE FOLLIES page 8

COMPARASMENT of PARC ANDRE CITROENS and PARC DE LA VILETTE. page 9-10

CONCLUSION page 11-12

REFERENCES page 13-14

Introduction

No metropolis without a park, no park without a metropolis. Parc de la Villette, a topographic point created act uponing in an and advanced manner, non merely architecture, but the manner of life of the people of Paris.

Parc de la Villette is a topographic point formed as a little community, a cultural and educational site, where no affair your age or disposition, you can travel and detect something new within your involvements. It was the really first piece of deconstructive architecture, a creative activity that marked a new epoch for architecture, and has set the baseline for a new manner of believing. Of class architecture is about the design procedure, the construct, the theories and rules behind it, but at the terminal of the twenty-four hours it is about happening the right balance between all these qualities and the creative activity of a beautiful piece of work, that serves in the best manner possible the people that visit and move within it. Architecture doesn’t ever need to hold a map, sometimes the people that interact with it, discover a new intent that it could function for them. The ability to make such a infinite is what makes it alone and so beautiful.

“Functionalist tenet and puritan attitudes of the modern motion have frequently come under at­tack.Yet the ancient thought of pleasance still seems blasphemous to modern-day architectural theory.For many coevalss any designer who aimed or attempted to see pleasance in architecture was considered effete.Politically the socially witting have been leery of the slightest hint of hedonism architectural enterprises and rejected it s a reactionist concern.And in the same manner, architectural conservativists have relegated to the left everything remotely rational or political, including the discourse of pleasance.On both sides the thought that architecture can be without either moral or functional justification, or even duty, has been considered unsavory.”

BERNARD TSCHUMI BOOK ARCITECTURE AND DISJUNCTION CHAPTER ONE SPACE ( ESSAY WRITTEN IN IN 1975 AND 1976 ) THE PLEASURE OF ARCHITECTURE

RELATIONSHIP OF DECOSTRUCTIVISM WITH MODERNISM AND POSTMODERNISM

Modernist architecture emphasizes map. It attempts to supply specific demands instead than imi­tate nature, it’s a rebellious motion as it escaped in every intending the linguistic communication of classical ar­chitecture. There is accent on rectangular signifiers and horizontal and perpendicular lines as the edifice signifiers and forms are based on cubed-boxes or even linked cubes-boxes. Materials are frequently used in chiseled planes and perpendicular signifiers contrasting with the horizontal elements of the infinite for a more dramatic consequence. Besides there is usage of low, horizontal massing, level roofs, underscoring on horizontal planes and wide roof overhangs. There’s a strong relationship between interior infinites and framed bird’s-eye views. In consequence, the edifice is at one with the landscape, taking advantage of dramatical positions and the natural landscape gardening.A Generous usage of glazing redefines the line between exterior and interior, the edifice and the landscape. Windows are no longer portholes to the exterior, big ex­panses of floor to ceiling glass supplying the right human comfort conditions.

Postmodernist architecture was created as an reply the modernist motion, as it contradicts many of its basic thoughts and doctrine. Uniting new thoughts with traditional signifiers, postmodernist edifices may astonish, surprise, and even divert. Similar forms and signifiers are used although it’s characterized by unexpected elements in the inside informations. Postmodernity in architecture is said to be foreshadowed by the return of “wit, decoration and reference” to architecture created as a reaction to the more formal manner that the International Style of modernism had at the clip. Many felt the edifices failed to run into the human demand for comfort both for organic structure and for the oculus, in contrast with modernism where the demand for cosmetic beauty was evident as it wasn’t needed.

Robert Ventruri one of the innovators of the postmodernist motion said “less is a bore” beliing to”less is more “ by Mies Van de Rohe. Those two quotation marks represent precisely the difference between postmodernism and modernism attack to architecture and the interaction amongst them.

Deconstructivism

Deconstruction, is an attack that attempts to break up architecture. The basic elements of architecture are pulled apart. Deconstructivist edifices may look to hold no ocular logic. They may look to be made up of unrelated, discordant abstract signifiers. One of the basic decon­structivist elements is its evident instability. Although the edifices are structurally efficient, the undertakings seem to be in provinces of detonation or prostration Deconstructivist architecture. On the contrary, it additions all of its force by disputing the really values of harmoniousness, integrity, and stabil­ity, suggesting alternatively that defects are intrinsic to the struc­ture. Tschumi believed that Deconstructivism was merely a move against the architectural attitude of Postmodernism.The edifices which are produced and based on the de­constructive motion and doctrine could be said that are characterized by good ordered pandemonium and reviewing unpredictability.Deconstructivism developed after post­modernism in the late eightiess. Bernard Tschumi stated that naming the work of the designers who exhibited in 1988 and competed for the Parc de la Villette a “movement” or a new “style” was out of context and showed a deficiency of under­standing of their thoughts. Deconstructivism took a challeng­ing stance toward much of architecture and architectural history, desiring to disjoin and disassemble architecture. While postmodernism returned to encompass, frequently slyly or ironically, the historical mentions that modernism had shunned, deconstructivism rejects the postmodern credence of such mentions. It besides rejects the thought of decoration as an after-thought or ornament, which can be seen clearly in the parc de la villete as all the follies are simple, functional constructions and the linguistic communication of strong geometry and cubism are apparent.

After the creative activity of modernism, postmodernism came as an reply oppugning thoughts and prin­ciples of it, but still keeping some of its elements.Deconstructivism so arose as a reaction to postmodernism and as a more insubordinate motion, but still continuing a portion of the early mod­ernisms doctrine.

GENERAL INFO

The Parc de la Villette is one of the biggest Parkss in Paris, located at the north-eastern border of the 19th arrondissement. The park houses one of the largest concentrations of cultural locales in Paris, includ­ing the Cite diethylstilbestrols Sciences et de l’Industrie ( City of Science and Industry ) , Europe’s largest scientific discipline muse­um, three major concert locales and the esteemed Conservatoire de Paris.

Parc de la Villette is served by Paris Metro Stationss Corentin Cariou on Line 7 and Porte de Pantin on Line 5.

Photograph FROM:

POLITICAL BACKROUND OF TIME

President: FRANCOIS MITTERAND

The president of the clip was Francois Mitterrand a really airy adult male who created an architectural plan to supply modern monu­ments in Paris.He served from 1982 to 1995, during the clip Louvre Pyramid, Musee d’Orsay, Arab World Institute, Opera Bastille, Grande Arche de La Defense, Ministry of Finance, the Bibliotheque nationale de France and the parc de vilette were constructed giving Paris a whole new fresh and modern-day feel to the metropolis.At the clip the pres­ident Mitterand was able to procure 300 million dollars for the construc­tion of the park de la vilette.

Photograph FROM: hypertext transfer protocol: //chateauchinon.chez-alice.fr/FM.html

THE Competition

In 1982 to 1983 the international competition of planing and redeveloping a piece of land into a park took topographic point in the Centre of Paris, France with over 470 entries including Zaha Hadid OMA/Rem Koolhaas and Jean Nouvel.This was Tschumis first competition, up to that point he was learning architectural theory in the Architectural Association in London in 1970 where he met a large figure of immature designers that influenced him into making his ain architectural perceptual experience and theories. In 1982 he intended to set these theories into pattern and prove them out in the existent universe to set up how the populace would interact to these. .It took him 10 old ages to set his thoughts on paper and make the existent programs he submitted for parc de vilette.The competition was won by Bernard Tschumi and unlike other entries of the competition Tschumi did non plan the park in a out-of-date mentality where land­scape and nature are the major forces behind the design, alternatively he envisioned the park to be a topographic point of changeless reconfiguration and find, a topographic point where people could experience that nature and semisynthetic creative activities are forced together to make a healthy and unagitated environment for people to interact.

BERNARD TSCHUMI During a 1997 interview Bernard Tschumi point out, “Architects will get down to make a batch of work in footings of edifice engineering. This is something I refer to as gum and micro chips. Of class, I’m mentioning to two engineerings here: edifice engineering and computing machine engineering. These two things together will hold far more impact than anything about signifier. I think that it is here that a captivation exists, and I think we are in a really exciting period. I think that in these ways architecture is still a immature subject, with a long manner to go.”

POINTS-LINES-SURFACES

The parc de la vilette is situated on the former Paris slaughterhouses.The follies house gallery infinites, eating houses, workshops and even music marquees and the remainder of the landscape is over 70.000 sqft and organize the gardens and the children’s playgrounds.

Tschumi designed the site utilizing three rules of administration which are the points, the lines and the surfaces. The 35 ruddy metal constructions of the park are classified by Tschumi as follies and are used as the points of mention. Each one of the follies has a really alone and typical signifier which allows the visitants to gain where they are in the park making a sense of topographic point. As lines Tschumi used the path­ways that run through the park.The tracts don’t truly function a map in contrast with the follies they lead to assorted infinites in the park every bit good as the environing country. The surfaces are all the green infinites, which form tha biggest footmark in the park. Those unfastened infinites give a opportunity to people to play, relax and get away the busy and nerve-racking modus operandi of the large metropolis of Paris, a unagitated topographic point that feeds grownups and children’s demands to get away the rough world of metropolis life.

Each one of the deconstructivist follies has its ain personality and individuality.In the early old ages of the park each one them were a Centre for informal plans, topographic points of ac­tivity and instruction. Through the old ages the follies have been turned into coffeehouse, eating houses and even stores.

VILLETTE Meaning

In French la vilette means small metropolis, with Tschumis ground-breaking design of the park he was able to suit it in absolutely with the modern metropolis of Paris and offer people a communal infinite within the large metropolis that feeds people demands for unfastened infinite. Tschumi was able to expect the hereafter of Paris in his gift to the metropolis, the Parc de le Villette.

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WHAT UNDERSTANDING OF THE FOLLIES DO THE VISITORS HAVE

When people interact with the park and the follies everyone has a different apprehension of them.Bernard Tschumi stated that he would be really defeated if the bulk of the visitants would hold the same reading for it.His purpose for La Vilette was to make a denial of a coherent significance, but without doing it hold no significance at all, that is which offers the visitants such a alone experience.This component of incoherency is said to be the one which makes the park deconstructive. Tschumis ap­proach to the creative activity of infinites and constructions is considered to be undermining towards the prevue motions of the twentieth century such as modernism and postmodernism.

“the game of architecture is neither map ( inquiries of usage ) , nor signifier ( inquiries of manner ) , nor even the synthesis of map and signifier, but instead the conveying together of possible combinations and substitutions between different classs of analysis – infinite, motion, event, technique, symbol, etc’ ‘I am non interested in signifier I aim for the thought of construction and sentence structure, but no significance. “

Image FROM: hypertext transfer protocol: //www.landscapearchitecturedaily.com/ ? p=2219

WHAT IS DECONSTRUCTIVE ABOUT THE FOLLIES

Tschumis creative activity is said to be the really first deconstructive piece of work, with dis-structured struc­tures.He achieved this by covering, without synthesis the three rules of administration that he created the points, the lines and the surfaces He gave a batch of accent on the arrangement and the deficiency of declaration between the three systems, the manner they collide and interact. Harmonizing to Tschu­mi there is ‘no beat, no synthesis, no order’ , but the ocular consequence is non upseting, on the contrast he stated that it seems parallel to the manner different beats are set against each other in minimalist music.

COMPARASMENT of PARC ANDRE CITROENS and PARC DE LA VILETTE.

Both of the Parkss are situated in Paris are together a portion of president Francois Mitterrand and his vision of offering Paris a fresh and new series of modern memorials.

Both of the Parkss where pieces of barren before their building as parc de la vilette stood as abandoned abattoirs and the parc Andre Citroen was an barren of pollution as it was one of the biggest Gallic industrial memorials, where the citroen auto company had one of its mills.Both Parkss where purchased by the authorities and they decided they would turn them into public Parkss. The experience of Parc Andre Citroen is meant to be affecting, embracing all of the visitor’s senses: sight, odor, sound, and touch. This garden is meant to arouse the colour after which it is named. It is filled with workss that have dark leaf and flowers. In park de la vilette the experience is somewhat different as you come across the ruddy deconstructive follies that don’t truly function a map, as they work as a topographic point where people can research and interact, although there are truly big green infinites that re used from kids to play and grownups to loosen up and bask the landscape.

COMPARASMENT of PARC ANDRE CITROENS and PARC DE LA VILETTE.

Photograph FROM: hypertext transfer protocol: //fr.wikipedia.org/wiki/Fichier: Parc_Andre-Citroen.jpg

The thought that at times “architecture flows through nature and nature through architecture” is really apparent here. The park achieves a nice balance in this country between the natural and the reinforced environ­ments. The lawn is surrounded with semisynthetic constructions, nurseries and retaining walls but it is still a really natural topographic point. The grass field is expansive and there are trees and hedges encircling the country. The parc Andre Citroen fits in with the environing context in contrast with the parc de la vilette.Perhaps this is why you get the feeling of non being in the big metropolis of Paris when you are within the parks evidences, you all of a sudden acquire a strong feel of an unfastened infinite and you could even experience like you are in the countryside.When parc de la Villette meets the environing site its like two different universes clashing.

There is besides no clear way by which to transverse this garden. Visitors are left to do their ain manner as best they see fit. The Movement Garden signals the terminal of the park’s themed patterned advance from ruse and architecture to nature and motion. In parc de la vilette the circulation of the park can or can be non be chosen by the visitants. There are specific tracts that lead you in specific edifices but you can besides take without limitations tha path you want within the green infinites of the park, in some parts of the park you can even travel from follie to follie merely by walking on the grass.Maybe this is what gives you that sense of freedom and relaxation when you visit the park.

Both Parkss can do you travel and take you in a difference topographic point. All the park’s characteristics make the visitants imaginativeness to work. But the greatest effort of imaginativeness is the park itself. It lies in the fact a group of people were able to look at an industrial barren and see what could be. Their imagina­tions engaged what was absent and so made it world.

Decision

Tschumis creative activity stands as a piece of work that has influenced a big figure of designers all over the universe and has helped to organize a new manner and motion of architecture.

In both architecture and all right art, the purpose is to make something beautiful, traveling peoples’ emotions and feelings while sing and experiencing it. The difference between the two is that in architecture you have to do your creative activity map specifically to the single demands necessary to those utilizing it. When planing something, you systematically need to believe and reconsider you are making as architec­ture is something that will stay for many old ages to come, and people will hold to populate and interact with it every individual twenty-four hours of its being.When I visited the Parc de la Villette, I felt a sense of composure and tranquillity.For me it’s a creative activity that should keep a strong sense of topographic point for a long clip.

“Life is non a series of computations and a sum sum of statistics, it is about experience, it is about par­ticipation, it is more complex and more intresting about what is obvious”

Daniel Libeskind

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