Deconstruction in Architecture vs. Sustainable Architecture, Research Paper Example

Introduction

Deconstruction Architecture has a major impact on the development of the contemporary, late-capitalist built environment. Derivative from the conceptual grammatology in discourse analysis induced by the intellectual activities of French philosopher, Jacques Derrida’s (1967) post-structuralist, semiotic deconstruction of linguistics, the movement’s influence within the field of architecture emerged in response to a wider field of scholarly public praxis; directed at destabilizing an entire History of Occidental metaphysics within Western thought. Extraordinary is the introduction of ‘play’ as a viable perspective in innovation of all sorts. Play, according to Derrida provides the proper vehicle for dislodging the ‘trace’ toward productive movement which is the anti-orchestration of monolithic authority: ‘the destruction of onto-theology and the metaphysics of presence’ (p.50).

It is between two orders of expression in a moving process, hinged on what Derrida calls a trace that defines the relationship between absence and presence is difference. However, trace, in its inherent destinction is also the microscopic totality of the sign and ‘all history.’ The trace is at once and at the same time an active assertion and inert. It asserts itself by force and therefore, maintains Derrida, is the transparent yet unwieldy outcome of an ‘unmotivated trace: the trace is indefinitely its own becoming unmotivated’ (p.47). The separation of the qualities of the trace, or the sign becoming symbol, is only possible through abstraction. As Derrida argues, it is ‘that starting from which a becoming-unmotivated of the sign, and with it all the ulterior oppositions between physics and its other, is possible’ (p.48). In the last instance, however, the trace is irreducible.

Although contemporaries to Derrida such as Lyotard might find further contention with the efficacy of the trace in ‘the last instance’ through assertion of a miniature monolith, without separation from Occidental thought in its entirety, the translation of Derrida’s semiotic renderings into the architectural sphere advanced with energy rarely seen in such a break within industrial modes of creative production.  Reinforcement of Deconstruction’s project was greatly enhanced by the rapidly transformative sector of new technology in construction materials and engineering systems. The market capitalization of ‘creativity’ in design (i.e. brand names in architecture) projected a significant future for the field through the global efforts of architects closely aligned, yet preceding the actual explosion of international development projects that led to a proliferation of deconstruction as a standard for cosmopolitan value. Architects like Frank Lloyd Wright and Le Corbusier whom carved a path opening the way for other modernist planners to spread deconstruction architecture throughout the world found widespread support in organic models of architectural and integrated building rehabilitations which seemed to mystically incorporate their environmental surroundings. Their designs created an instantaneous dialogue with other creative thinkers as well, and never has there been another period within Art History that architecture occupied such a preeminent place within the canon of Art’s historical lineage. Artist’s now found virtually neutral spaces for exhibition of their work and competitive aesthetics previously present in both private and institutional environments opened up to an unencumbered transition between indoors and outdoors.    History was necessarily removed so to speak, as the content of the form disintegrate into a past where only nature’s trace might find movement through functional sufficiency (Deconstruction: Student guide 12).

The foregoing essay is commences with a general theory of modernity in architecture in preface to the topic’s core historical interest of Modernist Deconstruction. Responsive to Derrida’s critique of stasis, the discussion examines the ‘event’ aspect of deconstruction architecture both through design, and through dissemination as knowledge at the global level. Precision within the field of architecture is revealed through a discussion of the evolution of Green or Sustainable Architecture, whereby we are able to examine the appropriation of Derrida’s trace as an element of historical materialism which does not induce apologetics that other positions within deconstruction might; hence disallowing retention of all occidental instance. Practical matter such as cost of materials with information about recycling materials is inserted into the intellectual inquiry, but mostly for the sake of denoting the current of market policy dialogue over environmental inputs and the ‘price’ of sustainable construction. Finally, the essay adjourns with a communicative action statement, drawn on consensus within public opinion toward a better future past, where everyday built environments might return to both function, and to Art.

Modernist Deconstruction

Modern architecture is characterized by cosmopolitanism. High Modernist tendencies reflect the shape and formation of absence. Absence in decorative or other symbolic inferences, Modernism is in its essence a project of authority – yet unseen. The most radical example of Modernist expressions, then, can be readily seen in architectural spaces once dedicated to the Spartan austerity of mid twentieth century fascist buildings of administration (e.g. Sperlunga, Italy). The emergence of Modernist architecture in the 20th century, of course, paralleled advances in the engineering field and an in construction as well. As the capitalization of national economies drove increased attention and spending toward urban development, schools of Modernist architecture literally trained minions of creative professionals into a field that was seeing significant growth in opportunities. Without exception, Modernist architecture impacted post WWII stylistic standards, and contributed to the reconstruction of both Europe and Japan. It is not surprisingly, then, that the two locations produced some of the most recognized, and most abundant structural plans for expansion of Modernist architecture concepts and engineering. In continental Europe, the locus of Western Art and Architecture critique, 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.  Reflexive to internationalist theories within the field of Modernist architecture elsewhere, in the United States a burgeoning architectural renaissance was already underway, perhaps best illustrated by the early sustainable construction of North American architect, Frank Lloyd Wright in United States (Architecture In Transition23).

A significant aspect of deconstructionism in architecture is the incorporation of flexible and modular parts into construction processes of design and structural enhancement. From point of conception, the basic elements of a built environment are malleable. Deconstructivist buildings at times appear to have no model of logic precedent in form.  The import of the trace element into a broad matrix of possibilities furthers the idea that each modular piece will act in isolation, at least at times, from the structure’s other pieces. From a design perspective, modular aesthetics are necessarily made up of unrelated elements. From the 1980s forward, a new development in this direction in architecture advanced this concept, into international replication of buildings common only in terms of their extremity. Gaudi was born again. In every major metropolis, strange angles and conflicting fabrication came to characterize buildings, integrally and in conflict with other like structures in the same surroundings (Jorge 12).. By late 1980, Deconstruction in institutional architecture had reached its zenith. Initiator of true deconstructionist techniques in public space was Richard Meier and his Museum fur Kunsthandwerk in Frankfort in 1979, and High Museum for Atlanta, Georgia in 1980. Reminiscent of Jackson Pollock’s paintings, interactive extremities in well known within Meier’s work constitutes the core composition of his legacy. Secondary traces in cubism allocate the work to a realm of political commentary quite transparent relative to the work of other designers of his moment. Construction is present, yet at play.

Though his philosophy in writing, the French philosopher, Jacques Derrida compressed his thoughts on deconstruction into a flexible semiotics originally unintended as such a strong proscription for architecture; transcending the boundaries of critical theory and reinserted into a material history. The reach of his philosophy of literary criticism is largely due to the search for alternative rubrics of interpretation that could simultaneously address shifts in the ideological terrain(s) connected to flexible capital, and translate across national idioms toward a true cosmopolitanism with or without consequence (Jorge 40).

The 1980s were perhaps the most celebrated deconstructivist moment, and series of events within the History of Architecture, with its apex mounted in 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, Daniel Libeskind, Rem Koolhaas, Peter Eisenman, Zaha Hadid, Coop Himmelbau, as well as Bernard Tschumi . French architect, Tschumi won the international competition for the planning of the Parc de la Villette that year. A graduate of the Eidgenössische Technische Hochschule, Zurich, his career of dispersion or ‘post-humanist’ version of deconstruction has furthered the theoretical school of deconstruction architecture through attendant discursive projects outside of building construction. For instance, exhibition of  his small experimental structures or ‘follies’, playing on the double meaning of the French word folie as a state of mental imbalance and a small pleasure pavilion, made him famous in Europe and North America. Multi-media circumscribed his ideas in publication ofThe Manhattan Transcripts in 1981, when his thoughts turned toward exploitation of cinematographic themes of frame and sequence. Since the 1980s exhibitions, many of the architects who were associated with Deconstructivism have moved themselves from the term. In fact, the visitor of this show thought that deconstruction in architecture is just about a wish, theory, not a truth, but twenty years later this style became one major architectural form (Vidler).

Green and Sustainable Construction

In the present, buildings from the deconstructionist period now stand as historical landmarks attributed to the movement in urban spaces across the globes.  For instance, CCTV Building in Beijing, designed by Rem kolhaas, is a merit to the school. A mini monument (and here we see the paradox in counter monolithic intent) well received in a country that has transitioned from pure statist modernism to a site of competitive market praxis. In the West, the Guggenheim Museum in Bilbao Spain, designed by Frank Gehry, is perhaps the most famous European examples of the cultural continuity of institutional deconstruction architecture. As deconstructionist architecture is put into historical perspective, new priorities in green and sustainable building come into the fore.

According to some architectural experts, green buildings are the opposite of the deconstruction buildings, as sustainable priorities are first and foremost interested in the inclusion of reuse materials and long term environmental mitigation, rather than mere function as a space of aesthetic eloquence and stage for art. Not so, say saged proponents of both movements; it is solely a matter of technological development that has increased the capacity of form follows function, and the elements required to build structures now offer new options in mitigation that are also reasonable in terms of full cost pricing.  A recent U.S. Environmental Protection Agency (EPA) study indicated that approximately 136 million tonnes of waste are created yearly from construction, renovation, and demolition. The reuse of materials reduces the effect of the global warming and increases the consideration of the conservation of energy (Bardley). As a sector, construction energy consumption is aggregated at 48% from buildings, of which 40% is operations and maintenance and 8% building materials and construction activities.  Conclusively, however, it is the health of the building construction itself, not merely the psychology of the space that has prompted a transition in how architects and architectural clients think about the built environment. Health is now cited as the most important functionary aspect of buildings. Alternative energy reduction construction has sanctioned an entirely new market within the building industry; and with it a decentralized relationship between building firms, and contributing materials and suppliers which are more often than not drawn from local, recyclable sources (Ching p.06).

Public Opinion

Late capitalist critiques of deconstruction in architecture most often point to the sustainability factor of buildings that are now sites of high maintenance heritage. On the other hand, deconstruction and its innovative ideas set the pace for transformations in architectural design that are of course, still implemented in the new construction field. The changeable forms made possible through deconstruction’s flexible designs, has enabled a range of unusual yet highly functional structures, from the alternative module home units seen in online galleries throughout the globe, to  high profile structures, such as Gehry’s use of Titanium, which ‘is as strong as steel and twice as strong as aluminum, but is 45% lighter than steel and only 60% heavier than aluminum’ (Jefersonlab 2010). The appearance of these buildings impresses people and makes them look twice in wonderment of what it is!

Conclusion

In spite of its event oriented criticism of History, in the end, Deconstruction architecture has had a strong and lasting influence both in terms of methodological consideration in architecture and in public perception. A complicit step in the evolution from Modernism to Sustainability, Deconstruction and its moment will be remembered as a critical step in the transformation of design and engineering in the field. Closely aligned to Derrida, Japanese Philosopher Kojin Karatani furthers his ideas, and forms an apt critique of its root in linguistics and grammatology. Only be philosophy, argues Karatani, rather than critical theory or literary criticism, might we thoroughly understand a true semiotics organic to architecture and its theoretical field. It is through this detection of a recurrent ‘will to architecture’ that situates the equation squarely in the realm of polemic only to be understood by a field of knowledge primarily sourced in historical materialism. I think he is right, and that architects like Wright would agree. As we now see in the current of theoretical debate and attendant industry decision making, full cost pricing is equally if not more potent in the semiotics of environmental power; design replaced by mitigation as trace.

Works Cited

Architecture In Transition: Between Deconstruction and New Modernism. New York: Prestel, 1997. Print.

Derrida, Jacques, 1967. Of Grammatology.  Baltimore: John Hopkins University Press, 1974. Web.

Gournay, Isabelle. “Tschumi, Bernard.” Grove Art Online. Oxford Art Online. Web, May 15, 2010.

Jorge. Deconstruction: A Student Guide. London: Academy Editions, 1991.

Karatani, Kojin, ed. Architecture as Metaphor:  Language, Number, Money. Cambridge: MIT Press, 1995.

Ching, Francis. Building Construction Illustrated. New York: Wiley, 2008. Print.

Bradley, Guy. “Building Deconstruction.” Reed Construction Data. October 17, 2007. Web. April 18, 2010.

Vidler, Anthony. “Deconstruction Boom.” Findarticles, Dec 2003. Web. 13 Apr. 2010.

Steinhauer, Jennifer. “Rising Building Costs Send Gehry Project in Downtown Los Angeles Over Budget.”  The New York Times, Sep 19, 2006. Web. 15 Apr. 2010.

“The Element Titanium”. Jeffrson Lab. Web. May 10, 2010.