“Proposals that are not adopted indicate a failure of design thinking”
CategoriesSustainable News

“Proposals that are not adopted indicate a failure of design thinking”

In this week’s comments update, readers are debating an opinion piece by urbanist Vishaan Chakrabarti on the global housing problem and discussing other top stories.

Architect and urbanist Vishaan Chakrabarti has caused a stir by suggesting that high-density, low-rise urban housing is the key to accommodating another three billion people over the next 80 years without costing the Earth.

“The answer is hiding in plain sight,” said the architect. “A ‘Goldilocks’ type of high-density, low-rise urban housing that sits between the scale of sprawling single-family houses and large-scale towers, advocated by many architects and urbanists for decades.”

“This is the right idea for the inner suburbs”

Readers are torn. “I’m no architect, but this does make sense to me,” said Andre C.

“Providing it is done right. I live with solar, battery and a heat pump in a semi-detached London suburb and can attest to the semi-self sufficiency of the concept from spring to autumn.”

“This is the right idea for the inner suburbs,” added Chris D, “but probably too low for all the gap sites in city centres.”

James C agreed: “I think that the logic of this is pretty sound, but my biggest preoccupation with these arguments is urban densification and the steps needed to move more and more of (especially) the Western world to public transit systems.”

Dilgreen was unconvinced: “Sensible proposals that get made time and again but are not adopted indicate a failure of design thinking. Since the proposal makes lots of sense in its own terms, clearly the reason for non-adoption lies in another domain.”

Is high-density, low-rise urban housing key to solving the housing shortage? Join the discussion ›

Frank Gehry's Guggenheim Museum Bilbao
Frank Gehry’s Guggenheim Museum Bilbao is “the greatest building of our time”

Reader says Franky Gehry’s Guggenheium Museum Bilbao is “the most exhibitionistic building of our time”

Commenters disagree with architect Philip Johnson’s view that Frank Gehry’s Guggenheim Museum Bilbao is “the greatest building of our time”. The structure is featured in our deconstructivism series.

“It is unquestionably one of the most exhibitionistic buildings of our time,” said Tom Roberts. “Best? It might be truly significant if the structure was not an afterthought.”

Alfred Hitchcock continued: “It’s certainly a remarkable, striking and interesting building as well as being a great tourist draw. But in my experience, as a museum, it doesn’t work very well at all.”

“‘Greatest building of our time’, dunno, maybe it is, maybe it isn’t,” concluded Apsco Radiales. “But the picture of Gehry and Johnson visiting it is a gem. Gehry looks happy with his work, and Johnson wide-eyed in amazement. Both giants, and craftsmen of the highest order.”

Is the Guggenheium Museum Bilbao the greatest building? Join the discussion ›

Timber playspace in London garden
De Matos Ryan adds timber playspace to garden of London home

Commenter calls “treeless treehouse” an “absolutely joyous thing”

Readers are divided over a “treeless treehouse” named Penfold, which architecture studio De Matos Ryan created for a London garden. The pyramidal timber structure is accessible only by crawling beneath it.

“What an absolutely joyous thing,” said Think.

Flex agreed: “Oh, to be a child again! I could almost live in this playhouse!”

“Maybe speaking out of envy,” replied Jack Mclathass, “but if I was one of the neighbours I would be mad at this structure stealing precious minutes of sunlight and projecting extra shade in my garden.”

Does Penfold bring a smile to your face? Join the discussion ›

Image of Google's Bay View campus reflecting in a lake
BIG and Heatherwick complete Google campus topped with “dragonscale” roofs

Reader thinks BIG and Heatherwick Studio-designed Google campus interiors “look like a generic trade fair”

Commenters are discussing Google’s new Bay View campus in  Silicon Valley, California. It features sweeping, scale-like panels across its roof and was designed by BIG and Heatherwick Studio.

“This is my favorite building among the tech giants,” said Puzzello. “Not another boxy, suburban, curtainwall structure with their logo slapped on the parapet.”

“That interior does bring up an emotion,” continued Ima Nerdee, “a claustrophobic 1970s cubicle nightmare feeling. Did the budget run out?”

Tom agreed: “Somehow looks like a generic trade fair when the exhibitors are still setting up.”

What do you think of Bay View campus? Join the discussion ›

Comments update

Dezeen is the world’s most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussions on our comments page.

Reference

Thinking Outside of the Modernist Box: Revisiting Deconstructivist Architecture
CategoriesArchitecture

Thinking Outside of the Modernist Box: Revisiting Deconstructivist Architecture

The A+Product Awards is open for entries, with a Main Entry Deadline of June 24th. Get started on your submission today! 

Deconstructivism is one of the most divisive architectural styles. The style and the corresponding movement emerged in the 1970s and became known in the 1980s with projects around the world by Peter Eisenman, Frank Gehry, Zaha Hadid, Rem Koolhaas and Bernard Tschumi etc. Several architects associated with the discipline-shattering movement are still highly active or have their influences long-lasting today, although their practices have undoubtedly evolved.

Yet, when it comes to describing deconstructivism, the term remains somewhat elusive. Buildings under this umbrella follow no specific forms and methodology, yet they can be seen as a reaction against the central tenets of modernism and classical architecture. The resulting buildings often seem extraterrestrial that so different from their ordinary surroundings.

Chora L Works

Eisenman Architects, La Villette, Paris, France, 1987. © Eisenman Architects.

Jacques Derrida and Peter Eisenman

The movement was rooted in the influential theories — that originated in the field of literature — by the philosopherJacques Derrida, of whom Eisenman was a close friend. Eisenman then translated Derrida’s ideas into architecture, for example, from chora (driven from Plato’s theory by Derrida) to absence and presence.

The philosopher and the architect were invited by Bernard Tschumi to design a garden in Parc de la Villette. With the design, they deeply investigated how to represent the unrepresentable. Beyond this, they not only contemplated how to represent the void, but also how to make emptiness meaningful — a delayed reaction to the horrors of World War Two, made possible by the machine-age technology that modernists had embraced in a utopian light. Although this project was never fully materialized, the investigation was rich enough to grow into the publication Chora L Works.

La Villette aerial

Perspective drawing of Parc de la Villette © Bernard Tschumi Architects.

La Villette photo

A look of Parc de la Villette from across the river, photo by Peter Mauss/Esto, courtesy of Bernard Tschumi Architects.

Bernard Tschumi

Parc de la Villette by Bernard Tschumi is believed the first built Deconstructivist project. The massive park consists of a group of buildings, walkways, bridges, gardens and more planned across a surprisingly large site in the City of Light.

The project encompasses buildings neatly placed in a matrix and a walkway system from a plan view. The walkways are in straight lines, arcs and curves that spread in a seemingly random manner and force no particular circulations. The red enameled steel buildings have no clear meaning either in themselves or from one to the next.

Casa da Musica_exterior_night

Exterior of Casa da Musica by OMA, Porto, Portugal

Rem Koolhaas

With hard-edged facets of different shapes, Koolhaas’s architecture is like cubism in three dimensions. The form can be rather simple, such as Casa da Musica. The skin made of white concrete folds into an irregular geometry that resembles an ore as well as a ship – but nothing that can be recognized exactly. The placement of glazing is unpredictable and even by seeing what’s behind the windows, the spatial arrangement of the concert hall remains unclear.

Day and night view of Seattle Central Library by OMA, Seattle, Washington.

There are complicated forms like that of Seattle Library as well. The form reminds people nothing of a library building. It is hard to tell from its appearance the function of the building at all. During the night, when the glass skin is lit from the inside, the spaces are revealed, surprising yet reasonable that are not betraying the overall form.

Walt Disney Concert Hall_exterior

Exterior of Walt Disney Concert Hall by Gehry Partners, L.A., California.

Frank Gehry

Gehry’s style is unforgettable and probably the easiest to associate with “radical.” Famous for drawing laconic sketches on napkins and other such items, his costly public structures, covered in distorted metal panels, instantly became landmarks once built.

The metal skin can be solid, hiding everything inside, like that of Walt Disney Concert Hall. Similar to Koolhaas’s buildings, you can read nothing specific from the form since the form does not follow functions. The plan behind the crazy skin is extraordinary, too. Walls can run perpendicular to each other while turning freeform a few steps away.

lou ruvo center for brain health

Lou Ruvo Center for Brain Health_interior

Exterior and interior of Lou Ruvo Center for Brain Health by Gehry Partners, Las Vegas, Nevada

Or, the appearance can be like Lou Ruvo Center for Brain Health, where regular façades with rectangular windows in lines are distorted into extreme forms. It is like Dali’s drawing, building up a surreal atmosphere by deforming ordinary objects of everyday life. Some of the distorted facades are “real”, sheltering spaces underneath. Some are rather “fake”, being simply massive shapes that fly above the head. The building is disassociating “facades” with the function of sheltering and enclosing.

London Aquatics Centre_exterior_night

London Aquatics Centre_interior

Exterior and interior of London Aquatics Centre by Zaha Hadid Architects, London, England

Zaha Hadid

Featured by smooth surfaces and skew shapes rounded at the corners, Zaha Hadid’s buildings possess a futuristic feeling. They are non-referential to the architectural style of any region and any generation, resulting in the buildings appearing often alien to their surroundings. The fluid forms sometimes recall natural existence, though that likeness stays only for a second.

For example, London Aquatics Centre, which was originally built for the London 2012 Olympic Games, has a shell-like roof. The massive roof is grounded at three points, all at the ends of the structure, creating a column-less interior. The three feet are hidden by other structures. The roof is therefore uninterrupted and looks like something soft that falls on top of the building.

Salerno Maritime Terminal_exterior

Salerno Maritime Terminal_interior

Exterior and interior of Salerno Maritime Terminal by Zaha Hadid Architects,Salerno, Italy

Salerno Maritime Terminal is more “solid” than the Aquatics Centre. It is shaped like a manta on the upper half, while a steady lower part makes it resemble a spaceship in sci-fis. The mosaic on the roof appears like the reflection on the inner side of an oyster.

None of the above architects has style alike. Rather, their style seems personal and non-referential. The forms are free from stereotypes of functional spaces following certain looks. More radically, even the traditional logic of spatial arrangement is challenged, e.g. in Parc de la Villette. They break the box of modernism, bringing contemporary architecture to a larger stage of experimentation.

The A+Product Awards is open for entries, with a Main Entry Deadline of June 24th. Get started on your submission today! 

Reference