Question 1: What is deconstruction? What deconstruction of specific representative figures has evolved from the discourse of constructivism? Deconstruction and constructivism also have some similarities in visual elements, and both try to emphasize the structural elements of design. Constructivism emphasizes the integrity and unity of the structure, and a single component serves the whole structure; Deconstruction, on the other hand, holds that individual components are very important, so the study of individuals is more important than the study of overall structure. Deconstruction is a criticism and negation of orthodox principles and order. Deconstruction not only denies constructivism, which is an important part of modernism, but also challenges classical aesthetic principles such as harmony, unity and perfection. At this point, deconstruction is similar to 16- 17 century Italian baroque style. Baroque is characterized by breaking through the solemnity, implication and balance of classical art and emphasizing or exaggerating architectural elements. In 1980s, a pantomime performed by a western artist in China vividly showed what deconstruction was. After playing a piece of classical music with the viola, the artist suddenly got up, threw the violin on the ground and stepped on it severely. Then he quickly pasted an abstract painting on the canvas with the fragments of the violin-a picture of the deconstruction and reorganization of the violin. In this way, the original perfect and harmonious violin shape no longer exists, and the fragments left by it can be reborn in another art form. As a design style, deconstruction rose in 1980s, and its academic origin can be traced back to 1967. At that time, the philosopher Derrida put forward the theory of deconstruction on the basis of criticizing structuralism in linguistics. The core of his theory is the antipathy to the structure itself. He believes that the symbol itself can reflect the truth, and the study of individuals is more important than the study of the overall structure. In the exploration of international style, some designers believe that deconstruction is a new theory with strong personality, which has been applied to different design fields, especially architecture. The representative figures of deconstructive design are Frank Q. Gehry, Bernard Q. Kumi and so on. In 1980s, Qumi became famous in Paris Villette Park because of a set of deconstructive red frame designs. This set of frames consists of independent and unrelated points, lines and faces. Its basic component is a cube of10m *10m *10m, and various components are attached to it to form facilities such as tea room, viewing building and recreation room, which completely breaks the concept of traditional gardens. Gary is regarded as the most influential architect of deconstruction, especially the Bilbao-Guggenheim Museum, which he completed in the late 1990s and caused a great sensation. His design embodies the denial of the whole and the concern for the part. Gary's design technique seems to be to dismember the whole building and then reassemble it to form an incomplete or even fragmented spatial shape. This fragmentation has created a new situation with richer and more unique expressive force. In industrial design, deconstruction also has a certain influence. German designer Ingo Q Moduer designed a chandelier named Boca Q Miceli Ya. Based on the slow-motion movie of porcelain explosion, the porcelain was "deconstructed" into a lampshade, which was unique. Deconstruction is not arbitrary design. Although many deconstructed buildings seem messy, the possibility of structural factors and the functional requirements of indoor and outdoor space must be considered. In this sense, deconstruction is just another form of constructivism.
Question 2: The representatives of deconstructive design The most famous representatives of deconstructive design are American architects Gary, Peter eisenmann, Teshumi, Benesh, Hardit, Lee Biskan, Simon Blau and Japanese designer Jingguang Meiteng. Among them, Gary, an American designer born in Canada, is the most famous. From 1980s to 1990s, Gary's design attracted worldwide attention, and his important works were also distributed all over the world: the "American Center" in Paris, the headquarters of Vesta Company in Basel, Switzerland, the Disney Music Center in Los Angeles, the Olympic Village in Barcelona, the Art Museum of the University of Minnesota, the Art Department Building of Toledo University in Ohio, and the furniture exhibition center in Vitera, Germany. In addition, there are Wexnet Visual Arts Center of Ohio State University and Columbus Municipal Convention Center designed by Peter eisenmann. Benesh and others designed the Solar Energy College Building of Stuttgart University.
Question 3: What is deconstruction? What are the specific representatives that an encyclopedia should have?
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