Deconstruction Architecture has a major impact on the development of the contemporary, late-capitalist built environment. Twentieth century architects like Frank Lloyd Wright and Le Corbusier carved a path for modernist planners to spread deconstruction architecture throughout the world. The progression of the movement found widespread support in organic models of architectural design and integrated building rehabilitations which seemed to mystically incorporate surrounding nature.
Synchronous with the forces of visual and other arts, deconstruction opened up neutral spaces for exhibition and performance as integral aspects of the everyday lived experiences of those built environments. The development of organic architecture as a philosophy of deconstruction promoted the harmony between human habitation and the natural world through design. The unified, assemblage composition of deconstruction, serves as the precursor to sustainable design in building, furnishings, and landscape.
Mid-century Modernism
The era of Modernist architecture was characterized by cosmopolitanism. Post WWII those stylistic standards contributed to the reconstruction of both Europe and Japan, and it is not surprisingly, then, that the two locations produced some of the most recognized and most abundant urban architectural structural developments.
In continental Europe, seminal constructions by architectural designers like Le Corbusier in France, and Ludwig Mies van der Rohe and Walter Gropius in Germany esteemed a post Frankfurt School movement toward reunification through democratic expression. The United States was already host to a burgeoning architectural renaissance underway. Of keen interest was the early sustainable construction of North American architect, Frank Lloyd Wright.
Deconstruction
Deconstruction came on the scene in the 1960s, and has had a strong and lasting influence both in terms of methodological consideration in architecture and in public perception. Closely aligned with the Modernist transitions in European and American thought, Deconstruction proposed flexibility in a field seeking departure from the rigors of cookie cutter design.
From the 1980s forward, it is said that ‘Gaudi was born again,’ and one can observe in every major metropolis, the strange angles and conflicting fabrication that came to characterize buildings, integrally and in conflict with other like structures in the same surroundings. From a design perspective, Deconstructionist architecture introduced modular engineering; incorporating flexible and modular part, functioning as unrelated elements.
Deconstruction hit its highest note during the Parc de la Villette architectural design competition. In 1983, Peter Eisenman proved his artistic direction at the New York exhibition that year, with featured works by Frank Gehry, and many other top and well-known artists. A French architect by the name of Tschumi won the design competition that year.
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