Issue 47

V. Alecci et alii, Frattura ed Integrità Strutturale, 47 (2019) 161-167; DOI: 10.3221/IGF-ESIS.47.13 165 by xenomorphic crystals, the Jewish Museum of San Francisco drawn following the Jewish letters, the Piazza Italia for the Expo of Milan inspired by the paintings by Giuseppe Arcimboldo. Figure 6 : Berlin Jewish Museum Figure 7 : Las Vegas city center “The classicist architect” - is reported in the monograph on Zaha Hadid directed by Bruno Zevi [15] – “does not put any of his own inspiration when designing, he only applies pre-established codes. Conversely, the “différance” and the deconstruction, are “iconoclasts”: no rigid codes can regulate it. “Deconstruction” doesn’t generate anonymous buildings, where the designer replicates geometric and structural code requirements and historicized typological schemes. It generates indefinite, confused, transformable spaces”. The historian Davide De Sessa defines the Hadid’s buildings as "medieval agglomerations made of additions, [...] contrasts between the different levels, anti-geometries” (Fig. 8). Zaha Hadid, like other contemporary architects, “has no truck with typologies, applied orders, implied assumptions of gravity [….], she aims at being liberated from the past and from the constraints of physical laws” [16]. Then, Vitruvian triad is transformed into a sort of “deconstructivist triad”, based on the immateriality of the walls, on the anti-gravitational and anti-Cartesian will, on the manipulation of structures. The complex joints in Peter Eisenman's projects, the confusion of the signs in Bernard Tschumi’s architecture, the Cubist philosophy of Frank O. Gehry, fully embody these concepts. Figure 8 : Antwerp Port Authority. In all of their projects, the manipulation of the building structure is evident. The structural mesh is not detectable, it appears like a part no longer necessary for supporting the construction, a simple figurative game useful to make spaces more enjoyable. “Gehry's architecture is a challenge to common sense”, is reported in a monograph of Mildred Friedman [17] dedicated to the Gehry’s projects. Gehry’s buildings would be defined like “architectural sculptures” than simply like “buildings”: Guggenheim Museum of Bilbao (Fig. 9) or the Nationale-Nederlanden Building of Prague (Fig. 10), are today considered great "sculptures" more than architectural buildings.