什么是解构主义？你真的了解吗？ - 网站源码_资源分享

屈米法国拉·维迪克森林公园｜Tschumis Parc de la Villette . Image Courtesy of The Architectural Review

What is Deconstructivism?

“后后现代主义”referring在字典里并没有明确的表述，其字面上意思为将某一违章建筑或建筑物冲破或拆毁，其中既代表者了结构因素，与此同时也代表者了这种思想界。而也正是因为这样的原因，后后现代主义体育运动常常被人所误会。

实际上，后后现代主义并并非一种崭新的建筑风格，也并非反对建筑或社会风气的领航体育运动，它并不遵从原先的准则和后现代经营理念，与此同时也不为社会风气环境所所苦。因而它抒发了形式和规模的无穷可能。

在一役前夕，俄罗斯现代派尊崇者冲破了古典风格物的原先准则，透过重新组织，构想了一系列的“反恒常”结构设计经典作品。他们的抨击道德观和经典作品实验型态冲破了现代人对传统建筑的道德观，与此同时也打开了一扇门通往中国地产的正门，让现代人充分地感受到建筑及内部空间的更多可能性。战争完结后，沙俄了经历了非常大的历史革新，而那些革新对建筑同样产生了非常大的负面影响。在彼时，建筑艺术能够负面影响整个社会风气，因而社会风气民主革命几乎等同建筑民主革命。不论是艺术经典作品还是建筑经典作品，欧几里得内部空间都变得不再规矩，穆尔什基夫齐1919年结构设计的共产国际纪念塔便是透过规模歪曲而成。与此同时，Aleksandr Rodchenko为某广播电台而结构设计的概念性内部空间也运用了双重不准则欧几里得型态。但是，那些保守的构成内部空间并非非主流，只是一些令人感有科缘的概念与策略，但与此同时也清晰可见继续开发的回旋余地。

在彼时沙俄现代派流行之时，现代体育运动也开始发展。在这两种体育运动前夕，现代人明显更偏激于后现代主义。海湾战争完结后，现代人对于稳定、完备的内部空间布局有着急迫的崇尚，因而沙俄现代派在此时处于下风。在彼时的经典作品中，每项点缀都被去除，只留下整洁、典雅、简洁的功能内部空间。

If we define “deconstructivism” (although it is not a verified word in the dictionary), it literally translates to the breaking down, or demolishing of a constructed structure, whether it being for structural reasons or just an act of rebellion. It is perhaps for this this reason that many misunderstand the Deconstructivist movement.

Deconstructivism is, in fact, not a new architecture style, nor is it an avant-garde movement against architecture or society. It does not follow “rules” or acquire specific aesthetics, nor is it a rebellion against a social dilemma. It is the unleashing of infinite possibilities of playing around with forms and volumes.

During the First World War, Russian avant-gardists, known as Russian Constructivists, broke the rules of classical architecture and composition and presented a series of drawings that defied the “geometric norms” at the time. Their critical point of view and experimentation with forms disturbed the traditional perception of architecture and opened people’s eyes on the endless possibilities of breaking architecture rules. Post war, the country was undergoing radical changes and revolutions, and the impact of these revolutions on architecture was inevitable. Architecture was seen as a high form of art, influencing and being influenced by society, and so, social revolution = architecture revolution. Geometry, whether in art or architecture, became irregular. Vladimir Tatlin designed a bent monument trapped inside a twisted frame for the Third International in 1919. Aleksandr Rodchenko presented an experimental design for a radio station that portrayed all sorts of geometric experimentation and irregularity. However, these radical structures, as well as hundreds of others, never saw the light of day, and were left as sketches with an intriguing conceptual approach that were yet to be explored.

In parallel to the Russian Constructivist movement, the Modern Movement was paving its way. Perhaps it was the timing of both movements that forced people to blindly choose Modernism. The World War has just ended and people were desperate for the stability and refinement they so missed; Russian Constructivism didn’t stand a chance. Ornamentation was stripped off, only to leave people with clean-cut, elegant yet naked functionality.

泰特林之塔｜Tatlin Tower. Image Courtesy of Flickr User Andy Roberts under CC by 2.0

相较于沙俄现代派和后现代主义，后后现代主义又代表者着什么？

What is Deconstructivism with respect to Russian Constructivism and Modernism?

Courtesy of Elizabeth W Garber

Villa Savoye Le Corbusier

现代人对于解构主，与此同时也受到了后后现代主义、表现主义、立体主义的负面影响。

这个词语最早出现于上世纪80年代，由彼得·艾森曼（Peter Eisenman）的朋友、法国哲学家雅克·德里达（Jacques Derrida）提出纳德·屈米（Bernard Tschumi）结构设计的巴黎拉·维迪克森林公园（Parc de la Villette），以及德里达和埃森曼的结构设计经典作品。

而1988年，菲利普·约翰逊（Philip Johnson）和马克·威格利（Mark Wigley）在纽约现代艺术博物馆举办了后后现代主义经典作品展览，前夕展出了扎哈·哈迪德（Zaha Hadid）、彼得·艾森曼（Peter Eisenman）、丹尼尔·里伯斯金（Daniel Libeskind）等大师的经典作品，回顾彼时，后后现代主义还并非一种体育运动或风格流派，约翰逊和威格利只是希望将那些有着同样结构设计手法的经典作品集合在一起共同展出。

Misconceptions surrounding deconstructivism may be the result of the terminology itself. The word translates to the act of demolishing, or tearing apart an existing structure, implying an act of rebellion. Deconstructivism was not really an impactful architecture movement or an artistic style that took the world by storm and altered architecture as we know it. It was a mélange of Russian Constructivism and Modernism, with a little bit of influence from Post-modernism, expressionism, and Cubism.

The term first appeared in the 1980’s, as an idea developed by French philosopher Jacques Derrida. Derrida, a friend of Peter Eisenman, developed the idea of fragmenting a building and exploring the asymmetry of geometry (inspired by Russian Constructivism), while maintaining the core functionality of the space (inspired by Modernism). The public first noticed the deconstructivist movement in the 1980’s during the Parc de la Villette competition, thanks to the winning entry by Bernard Tschumi, as well as Derrida’s and Eisenman’s design entry.

The style gained more attention during MOMA’s 1988 Deconstructivist Architecture exhibition, organized by Philip Johnson and Mark Wigley, which featured works done by Zaha Hadid, Peter Eisenman, Daniel Libeskind, amongst many others. Back then, Deconstructivism was not considered an established movement or a style such as Cubism or Modernism. Johnson and Wigley saw the similarities in the architects’ approach to design, and combined them under one roof.

彼得·艾森曼｜Peter Eisenman. Image © Chris Wiley

屈米法国拉·维迪克森林公园｜Tschumis Parc de la Villette . Image Courtesy of The Architectural Review

“展览中的经典作品都很有意义，它们有着不拘一格的内部空间形式，这样的手法冲破了现代人对于形式的常规经营理念，从而让那些项目变得‘解构’。这次展览也是一种检验，这几位建筑师都不约而同地运用了这种具有不稳定因素的建筑形式。”——约翰逊和威格利，节选自当代艺术博物馆后后现代主义建筑书籍。

The projects in this exhibition mark a different sensibility, one in which the dream of pure form has been disturbed. It is the ability to disturb our thinking about form that makes these projects deconstructive.The show examines an episode, a point of intersection between several architects where each constructs an unsettling building by exploiting the hidden potential of modernism. — Phillip Johnson and Mark Wigley, excerpt from the MoMA Deconstructivist Architecture book.

1988年后后现代主义建筑展览｜1988 Deconstructivism Exhibition. Image via MoMA

随着德里达的理论和沙俄现代派设计思路的普及，建筑师们开始了对内部空间的探索，因而艺术形式的对称性和连贯性逐步降低，结构设计准则不断被冲破，与此同时也不在讲究“形式追随功能”的至理名言，但是，后现代主义经典作品之中的精致细部和典雅型态仍然存在。建筑逐渐发展成为不可预测的欧几里得形式，而其功能仍然得以保留。在那些经典作品中，建筑师们不再关注某一构件的实用与否，只是不断地在思考，是否还有更多可能与尝试？

Following Derrida’s theories and the “avant-gardist” approach of Russian Constructivism, architects began exploring spaces and volumes. The style was characterized by a loss of symmetry or continuity. It was architecture on steroids. Design rules were broken and “form follows function” was neglected, but somehow, the refinement and elegance of modernism remained. The structure’s skin was manipulated and altered into unpredictable geometric forms, but the building’s function was preserved. Basically, architects began having fun, and instead of asking themselves whether the design was practical or not, the main question was: Why not?

弗兰克·盖里住宅｜Frank Gehry House. Image © Liao Yusheng

但是，许多建筑师们都十分抗拒“后后现代主义”的标签。屈米认为，“所谓的‘体育运动’与‘风格’是对建筑师经典作品的断章取义，与此同时也是一种曲解”，因为这只是对于后后现代主义风格的抗争。只是，公众仍然习惯将这种结构设计方式或是此类经典作品解读为“后后现代主义”。事实上，后后现代主义结构设计策略仍然让多项经典作品获得业内认可的荣誉与奖项，对于当代建筑师们仍然具有很大的负面影响。

However, most architects have rejected the label of being “Deconstructivists”, distancing themselves from any sort of movement. Bernard Tschumi believed that “calling the work of these architects a ‘movement’ or a new ‘style’ was out of context and showed a lack of understanding to their ideas”, claiming that the style was merely a move against postmodernism. Unfortunately for them, the term resonated with the public, and their works have been referred to as “deconstructivist” ever since. In fact, their Deconstructivist approach to design created some of the world’s most iconic and award-winning structures to date, influencing hundreds of up-and-coming architects.