A Seminar on Deconstruction.

Deconstruction/Deconstructivism/Deconstructionism=

*Deconstruction= approach associated with post-structuralism and Jacques Derrida (author of notoriously obscure and philopshophical writings, 'Of Grammatology', etc...)

*Blended with 20s Russian constructivism in design and architecture- this developed into deconstructivism.

*Visually interpreted in graphic design= sometimes known as 'deconstructivism', however, post modernists largely avoided this term as it categorised people too readily- the complete contrast of the style and message they in fact wanted to portray in their practice.

The pratice of deconstruction became extremely popularised around the world- particularly in the USA where the term "DE-CON" was founded as decontructionism within graphic design.

-Deconstruction, as a practice, was developed from the practices of postmodernism- with the attitude of questioning conventions (particularly those founded in the age of modernism), and the multiplicity of aesthetic styles and approaches to design-

In modern day texts, there are many essayists analysing the manipulations and changes bought upon graphic design through deconstruction- one book in particular, 

'Design, Writing, Research' (1996, Ellen Lupton & Daniel Miller)

evaluate this style, and present it aesthetically throughout the book.

*(ashamedly, this book has been sitting on my shelf for several months crying out to be read- it's now firmly on the to-do list!)*

Perhaps the most famous practioners of deconstruction were students of the Cranbrook Academy of Art, US- students of whom were urged to investigate and explore the warped and manipulated structure of graphic design and layout- creating a style of design which, in terms of the rules and methods traditionally practiced, create a new aesthetic, a type of "anti-design".

-One of the most important factors about deconstruction is the emphasis on the approach, and not the style- the thought process, and not the aesthetic created from this process. Deconstruction focused on the theory, as well as the delivery- creating a complex visionary piece to inspire thought and questioning from the reader (or viewer).

In Jacque Derrain's 'Of Grammatology' (1996, translated 1976) he writes...

(What is Deconstruction?...)

"Approach to texts which analyse their systems of representation- the systems which frame their communication."

Derrain aimed to challenge people's popular, and cultural beliefs. It was widely believed at this time that speech was the main method of communication- whereas writing was considerably inferior. It was believed that speech required no equiptment, no toolds, it was natural, and spontaneously learnt- whereas writing was exterior, it was forced and constructed by cultural learnings, and not our genuine thoughts and emotions.

On the surface, of course, this may have appeared true- but upon analysing these theories it is evident that these opinions are, infact, quite the contrary.

Writing, text, and typography, in deconstruction can be arranged in such a way to provoke thought from the audience, to manipulate their feelings and emotions, to make them question layout and structure- and the very text they are recieving and absorbing- physically having to stop and re-assess the methods and nature of what we have been taught- why should a page read from left to right? Why should a sentance start with a capital letter, and end with a full stop? 

These are all cultural teachings, something developed and cemented in our everyday lives and without these guidelines huge differences to our thought process can be simply achieved.

In a previous reading, 'The Crystal Goblet' by Beatrice Wade (1956) she portrays her opinions that typography should act as "the crystal goblet"- simple, useful- but, in fact, little else. The content of the text was the elaborate golden goblet, the beauty and the elaborate wonder.

But, really, this is far from the truth.

As aforementioned, the layout, structure, higherarchy, point size, anatomy, kerning, tracking- all the seperate, individual and seemingly fractional elements of type can affect, or, in some cases, completely transform how we read a text. Although the author may wish to portray a certain message, this can easily be misconstrued or manipulated by deconstruction.

Anthropologist and theorist Roland Barthes (1968/1971) stated:

"The text itself plays (like a door, like a machine with 'play') and the reader plays twice over, playing the text as one plays a game, looking for a practice which reproduces it..."

reminding us that language and meaning can be taught through structures- reminding and revealing to us the mechanisms of which are put in place when we read.

In Cranbrook Academy's 'Visible Language' journal special edition 'French currents of the letter' (1978) (a journal produced from the works of post-structural theorists) took a standardised accepted form of the academic journal, and using de-constructivist technqiues created a huge awareness of the structure and layout from the viewer's perspective- emphasing kerning increasingly through the pages- footnotes aligned to the right or centre of the page- therefore, no longer being "foot"notes at all. It was simple alterations like these which shook the understanding of layout and structure in design today.

Again, this has been evident in many forms of design since- not only in the traditional sense of layout and structure through the printed mediums and graphic design- but also incredibly effectively in architectural design- the deconstructivist style (as previously mentioned) being influenced by Russian constructivism of the modernist era, but with new and refined philosophies.

Deconstructionist examples in archiecture include...

The Jewish Museum, Berlin 1989-96.

Designed by Daniel Liebsking (previously lectured at Cranbrook College, US)

-A museum with no linear structure- plot or centre- an abstract and visionary experience to house thought-provoking and historical facts and features.

La Parc de la Villette Paris 1982-92.

Designed by Bernard Tschumi- 

A complex and unique design situated in Paris, this park contradicts the practices and principles that park landscpaing has traditionally stood for- being guided through the most scenic and "pleasant" path through- whereas the Parc de la Villette design, built of three contrasting surfaces creates an almost labyrinth-esque effect on the pedestrian or visitor- with three different ways and choices to lead- creating an emancipating and anti-authoritarian atmosphere and feeling that was so distinct in deconstruction.

In Summary...

-Derrida re-examines the relationship between speech and writing- also urging a critical approach to all means of representation.

-Taken up in archiecture (as oppossed to an 'ism').

-Invoked in Graphics at Cranbrook.

-Recognised in works of others (e.g. David Carson).

-Overlaps with stylistic traits of postmodern graphics.

-A provocation of self-reflexivity and critique of limitation.

-De construction questions and critques assumed conventions.