\u201cDeconstructionist architecture \u2026 works best as an exception within a strong defined norm.\u201d<\/strong><\/p><\/blockquote>\n Charles Jencks<\/p>\n Another built project, the series of pavilions (\u201cFolies\u201d) for the Parc de la Villette in Paris designed by Bernard Tschumi, also used a new and disorientating sense of space and form. But Tschumi gave the buildings a type of unity by drawing on 1920s constructivist machinery for inspiration and by painting all the pavilions a bright, vibrant red.<\/p>\n Many have doubted that buildings can embody the type of linguistic philosophy that deconstructivism apparently draws on. How easy it is to assign \u201cmeaning\u201d to these outwardly chaotic and bizarre buildings? In reply to this question, some architects, such as Bernard Tschumi, say that their buildings not only question the validity of conventional structures, but also reveal the fragmentation and disunity in modern culture. Another view sees buildings like the Gehry house (below) working in another way: their form can be viewed as offering a criticism of the more complacent designs generated by consumer society. Both views see deconstructivist architecture as embodying a radical alternative to the norm, and, as the architect and critic Charles Jencks has pointed out, this type of design is at its most powerful and relevant when it stands out as the exception to the rule.<\/em><\/p>\n Since then the various architects who have become known as deconstructivist have gone their separate ways, but many of them have made works with this sense of fragmentation. Frank Gehry has exploited computer design technology to create buildings, such as the famous Guggenheim Bilbao, that are all dramatic curves and reflections. Daniel Libeskind has used a new sense of space to symbolize the traumas of 20th-century history in his Jewish Museum, Berlin. The Viennese practice called Coop Himmelb(l)un has created an almost expressionist architecture out of deconstructivism\u2019s radical fragmentation and juxtapositions. Peter Eisenman, adept at reinventing himself, has produced diverse buildings, but his NC Building, Tokyo (which looks as if it is about to collapse) and his Aronoff Center, New York (resembling a set of toppling boxes) have explored deconstructivism\u2019s fascination with fragmentation.<\/p>\n Meanwhile one or two architects\u2014notably Tschumi and Eisenman\u2014continued to draw on the movement\u2019s intellectual roots, Eisenman seeing his buildings in part as intellectual exercises to benefit a late 20th-century landscape from which any sense of place or identity was fast vanishing.<\/p>\n
\nBuilding and meaning <\/em><\/h4>\n
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![\"Gehry](\"http:\/\/www.sribno.com\/architecturallife\/wp-content\/uploads\/sites\/5\/2023\/01\/Gehry-House-Santa-Monica-California.jpg\")
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