DECONSTRUCTIVISM

• It is a development of post modern architecture, in late 1980s

• Its influenced by the theory of deconstruction
•It is characterized by fragmentation, manipulation of a structure’s surface,
non-rectilinear shapes, unpredictability and controlled chaos.
• Deconstructivism came to public notice with the 1982 with the parc de la
villette architectural design competition, 1988 deconstructivist
architecture exhibition in new york, and the 1989 opening of the wexner
center for arts designed by peter eisenman
Peter eisenman

• Born on august 11, 1932

• Birth place : Newark, New jersey
• Attended columbia high school, New Jersey
• Completed B.arch fromcornell university followed by M.arch from
columbia university
Columbus Convention Center, Ohio
philosophy

• He rejected the functional concept of modernism by designing

stairways that led nowhere or columns that did not function as
support
• His works were characterized by disconcerting forms, angles and
materials
• According to eisenman, when you can sense the incompleteness of a
finished structure, it is a paradoxial experience. If the parts that make
up a whole are in conflict, the sensation of the incomplete contests
the fact that the structure is, in fact, a finished and fully enclosed
space.
The Greater Columbus Convention Center
400 North High Street
Columbus
Ohio 43215
USA
The Greater columbus center is a convention center located in
downtown Columbus
The convention center was designed by peter eisenman, constructed
in 1993, and expanded in 1999.
These pavilions initiate long, curving volumes which extend back to
truck loading docks along the rear
The street façade these volumes coincide with meeting rooms, the
grand bathroom, and eating facilities. In the main exhibition
space,however, they simply run above the supporting trusses
without regard to the structural or spatial grid.
• (Peter) Eisenman Architects with Richard Trott & Partners
1993.Though Peter Eisenman is certainly one of the better known
names in architecture today, it was not until recently that he began
to build major structures, since at first he was primarily known both
for his writing and small residence commissions. One of his first
major works was the Wexner Center (Columbus, OH 1989), a building
which went on to receive much press and served as a tangible
showpiece for the Deconstructivist style which had first come to most
people's attention at the New York Museum of Modern Art's
exhibition a year earlier. Perhaps due to the amount of press that the
Wexner Center received, and the manner in which that building
managed to place Columbus in the architectural limelight, Eisenman
was commissioned soon afterwards to design the Greater Columbus
Convention Center, only miles away from the Wexner Center.
• Approaching the Convention Center, and walking through its long main corridor,
one can't help but make comparisons to his two other works in Ohio (the Wexner
Center in Columbus and the Aronoff Center for Design in Cincinnati). From the
opposite side of High Street, one can see how the building's façade is separated
into different volumes (perhaps in an attempt to bring the elongated building
which covers 600,000 square feet, down to human scale), much in the same
manner as the façade in Cincinnati was treated. In Cincinnati, the Aronoff Center
is often viewed from below (from street level) making the building, by placement
alone, seem monumental. Such an approach is lacking in the convention center,
which seems far more mundane than the larger than life Aronoff Center is. It
would appear as though the low, long building fights Eisenman's preconceived
stylistic notions, and perhaps Eisenman's awareness of this issue would explain
why the most often published images of the building are taken from high
surrounding buildings. These images show a particularly attractive view of the
building, the complex system of volumes starting on High Street and working
their way back towards the loading docks. This view, however, is reserved to
lucky travelers staying in downtown hotels surrounding the convention center.
• The interior of the building is dominated by a central axis that runs
the entire length of the convention center. Walking in this main
corridor, the visitor is faced with long stretches of un-designed
spaces. Though this is perhaps meant to act as a counterpoint the
building's busy exterior, the interior lacks the strength that the
Aronoff Center achieves. Still, this simple central axis allows the
building to work quite well due in part to its simple layout. Within
this main passageway, balconies overlook the space and give viewers
unusual views of the building and passersby, a technique that
Eisenman would capitalize on in Cincinnati. 
• The building has no conventional front or back. Like a race track, it
has a start and a finish. It appears to start in reverse: 10 "lanes" rise
up, in barrel vaults, from loading bays that abut a highway overpass.
Sheathed in aluminum in gleaming metallic colors -- gold, silver,
copper -- the curving strips snake across the 13-acre roof before
screeching to a halt at High Street, on the downtown edge.
Merchandise enters through the freeway side, conventioneers from
High Street, and the design declines to declare either one the main
facade. If any side has priority, it is the roof, visible from passing cars,
airplanes and nearby convention hotels. Eisenman calls this
spectacular roofscape the building's fifth facade.
• It should be noted that Eisenman often referred to Cincinnati as
being an "inside" building, which would lead us to believe that the
Convention Center in Columbus is perhaps an "outside" building due
to it's undecorated simplicity. This however, is simply not so. John
Burgee who judged entries for the competition voiced concern about
the building's facade being "not developed". This point could
certainly be argued either way, due to the sheer quantity of colors
and angles in the convention center's facade. But even with that
apparent complexity in mind, it is easy to see the difference in the
manner in which the building's facade is treated at the Wexner
Center (with its multi-layered volumes, different finishes and
unorthodox mix of materials) and the simplified manner in which it is
treated here.