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page082from Building Ideas
18 E.E. Voillet-le-Duc – Detail of Gothic
vaulting from Dictionaire Raissonée, 1854-68
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page081from Building Ideas
As with Derrida’s early preoccupation with
language, there is an attempt to question deeply ingrained conventions, such
that structures of meaning are not naturally “given” but are the fact
historically “constructed”. The metaphorical link with constructing makes
architecture again an important theme – its persistence and all-pervasiveness
makes it a significant target for reappraisal:
This
architecture of architecture has a history; it is historical through and
through. Its heritage inaugurates the intimacy of our economy, the law of our
hearth (oikos), our familial, religious and political oikonomy, all the places
of birth and death, temple, school, stadium, agora, square, sepulcher. It goes
right through us to the point that we forget its very historicity: we take it
for nature. It is common sense itself.17
The
shaking up of these common-sense assumptions about architecture’s immovable
orthodoxies is what Derrida discerns most clearly in the design of Tschumi’s
follies. He sees it as a creative process and a way of giving architecture
another chance – against both the weight of inherited tradition and the modern
conventions of economic and functional logic. In this he outlines a more
positive approach to history, as an alternative to unthinking repetition:
The folies affirm, and engage their affirmation beyond this ultimately
annihilating, secretly nihilistic repetition of metaphysical architecture. The
enter into the maintenant of which I speak; they maintain, renew and reinscribe
architecture.18
Reaffirming
the possibilities of architecture as a language of materiality and space has
arisen from a process of questioning such modernist doctrines as “form follows
function”. The best examples of this process in action occur where the function
itself is unclear, such as in the extension to the Jewish Historical Museum in
Berlin, currently
17 Jacques Derrida, “Point de Folie –
maintenant de I’architecture”, translated by Kate Linker, in Neil Leach (ed.),
Rethinking Architecture, Routeledge, London, 1997, p326.
18 Jacques Derrida, “Point de Folie –
maintenant de I’architecture”, translated by Kate Linker, in Neil Leach (ed.),
Rethinking Architecture, Routeledge, London, 1997, p328.
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page080from Building Ideas
17 Bernard Tschumi, Parc de la Villette,
Paris, 1985: Superimposition of lines, points and surfaces.(Bernard Tschumi)
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page079from Building Ideas
16 Bernard Tschumi – Parc de la Villette,
Paris, 1982-91. (Jonathan Hale)
series of “follies”, or pavilions in the
part, come to represent the kind of philosophy that Derrida himself is actually
searching for. As he writes of the follies’ challenge to the conventional norms
of the discipline of architecture:
The folies put into operation a general dislocation; they draw into it everything,
until maintenant [now], seems to have given architecture meaning. More
precisely, everything that seems to have given architecture over to meaning.
They deconstruct, first of all, but not only, the semantics of architecture.16
16 Jacques Derrida, “Point de Folie –
maintenant de I’architecture”, translated by Kate Linker, in Neil Leach (ed.),
Rethinking Architecture, Routledge, London, 1997, p 326.
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page078from Building Ideas
14 Coop Himmelblau – Rooftop remodeling,
Vienna, 1983-88.(Redrawn by the author after Coop Himmelblau)
15 Bernard Tschumi – Parc de la Villette,
Paris, 1982-91. (Jonathan Hale)
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