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Contemporary art and 1988 MOMA exhibition

Two strains of modern art, minimalism and cubism, have had an influence on deconstructivism. Analytical cubism, with its multiplicity of  views, had a sure effect on deconstructivism, as forms and content are dissected and viewed from different perspectives simultaneously. A synchronicity of disjoined space is evident in many of the works of Frank Gehry and Bernard Tschumi. Synthetic cubism, with its application of found art, is not as great an influence on deconstructivism as Analytical cubism, but is still found in the earlier and more vernacular works of Frank Gehry. Deconstructivism also shares with minimalism a disconnection from cultural references. It also often shares with minimalism notions of conceptual art.

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With its tendency toward deformation and dislocation, there is also an aspect of expressionism and expressionist architecture associated with deconstructivism.

Several artists in the 1980s and 1990s contributed work that influenced or took part in deconstructivism. Maya Lin's 1982 project for the Vietnam Veterans Memorial, with its granite slabs severing the ground plane, is one. Its shard-like form and reduction of content to a minimal text influenced deconstructivism with its sense of fragmentation and emphasis on reading the monument, clearly echo deconstructivist thought. Lin also contributed work for Eisenman's Wexner Center.

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Rachel Whiteread's cast architectural spaces are another instance where contemporary art is confluent with architecture. Ghost (1990), an entire living space cast in plaster, solidifying what is typically absent, alludes to the Derridean notion of architectural presence. Gordon Matta-Clark's Building cuts were deconstructed sections of buildings exhibited in art galleries.

1988 MOMA exhibition

Mark Wigley and Phillip Johnson curated the 1988 Museum of Modern Art exhibition Deconstructivism architecture, which crystalized the movement, and brought fame and notoriety to its key practitioners. The architects presented at the exhibition were Peter Eisenman, Frank Gehry, Zaha Hadid, Coop Himmelblau, Rem Koolhaas, Daniel Libeskind, and Bernard Tschumi.

Mark Wigley wrote the accompanying essay and tried to show a common thread between the various architects whose work was noted for their differences rather than their similarities. 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.

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Computer aided design is now an essential tool in most aspects of contemporary architecture, but the particular nature of de constructivism make the use of computers especially pertinent. Three-dimensional modeling and animation (virtual and physical) assists in the conception of very complex spaces, while the ability to link computer models to manufacturing jigs (CAM - Computer-aided manufacturing) allows the mass production of subtly different modular elements to be achieved at affordable costs.

In retrospect many early deconstructivist works appear to have been conceived with the aid of a computer, but were not; Zaha Hadid's sketches for instance. Also, Gehry is noted for producing many physical models as well as computer models as part of his design process.

Criticism of deconstructivism

Some architects identified with the movement, notably Frank Gehry, have actively rejected the classification of their work as deconstructivist or deconstructivism.
Critics of Deconstruction see it as a purely formal exercise with little social significance. Kenneth Frampton finds it 'Elitist and detached'. Other criticisms are similar to those of deconstructivist philosophy - the act of deconstruction is not an empirical process and so can result in whatever a playful architect wishes, and so suffers, ironically, from a lack of philosophical consistency. Today there is a sense that the philosophical underpinnings of the beginning of the 'movement' have been lost, in favour of simply the aesthetic of deconstruction.

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Deconstructivist designs may involve complexity that can increase the costs of design and construction. Increasing costs purely for aesthetic reasons may provide 'less building' in some cases and not fulfill the brief as effectively as alternative approaches. Eisenman's designs have been especially criticized for their deliberate hostility to users and their lack of functionality.

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