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Deconstructivism came to public notice with the 1982 Parc de la Villette architectural design competition, in particular the entry from Jacques Derrida and Peter Eisenman [3] and the winning entry by Bernard Tschumi, as well as the Museum of Modern Art’s 1988 Deconstructivist Architecture exhibition in New York, organized by Philip Johnson and Mark Wigley.
This timeline shows the periods of various architectural styles in a graphical fashion. 6000 BC–present. 8000 years – the last 1000 years (fine grid) is expanded ...
This is a list of art movements in alphabetical order. These terms, helpful for curricula or anthologies , evolved over time to group artists who are often loosely related. Some of these movements were defined by the members themselves, while other terms emerged decades or centuries after the periods in question.
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It is believed that the term "deconstructivism" in relation to fashion began to be used after an architectural exhibition in 1988 at the Museum of Modern Art in New York. [7] The work that summarized the basic principles of deconstructivism in the 1990s can be considered the text by Alison Gill "Deconstruction Fashion: The Making of Unfinished ...
Styles often spread to other places, so that the style at its source continues to develop in new ways while other countries follow with their own twist. A style may also spread through colonialism, either by foreign colonies learning from their home country, or by settlers moving to a new land. After a style has gone out of fashion, there are ...
The thinkers included in this list have Wikipedia pages and satisfy at least one of the three following additional criteria: he or she has written about deconstruction; used uniquely deconstructive concepts in a published work; or; has stated outright that deconstruction has influenced his or her thinking.
In philosophy, deconstruction is a loosely-defined set of approaches to understanding the relationship between text and meaning.The concept of deconstruction was introduced by the philosopher Jacques Derrida, who described it as a turn away from Platonism's ideas of "true" forms and essences which are valued above appearances.