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Deconstruction Theory of the Wright House 

Extension of family home of Mr. and Mrs. Ferdie Wright. 

"Spiritual interpretation" of 145 Marlie Acres Drive, by default.


1. Deconstruction - Creates or is only interested in you as the viewers own meaning. No limit to meaning of an image, texts, art, or design. 

2. The relationship of the human subject to the object of architecture is important. Traditionally, meaning and experience were hand in hand, as in all the houses in Ferdie's scheme denote one solution for a myriad of people with different lifestyles and personalities. 

3. What else is associated with an object or language that makes or proves it is unstable? This is the tussle between a brief and the optional solutions. Some solutions are unstable in the reprieves or mundane continuity, others are as unstable as they are revolutionary, by reinterpreting the signifiers. 

4. Once taken from the creator, you can make your own meaning. 

5. Rely on repetitive and progressive acts of interpretation between the human subject and the object of a space / place (architectural) , reconstruction required the reduction of meaning and that of the traditional meaning, and so the design of a typical local modern vernacular; a response that breaks down the meaning of what is understood to live in such an urban development setting. 

6. Not the assumed or know obvious meaning, the Signified (word, image, object, sound) and the Signifier (concept or the idea) - the meaning is the difference between the two. 

7. What exists changes with time or in someone else’s own subjectivity. It can invoke and require disturbance, relocation, deflection, deviation, and distortion. The appearance of structural unsoundness is a popular and it is superimposing two sides of a binary (opposites) onto one another. In a way, those two binaries are dependent on each other. you cant know light without knowing darkness. This difference or split between them isn't set in stone, there is a fluidity between them. 

8. Language constantly changing and developing because of the concept of the "free floating signifier(s); "an idea from Vitruvius was that architecture should not only stand up, but it should look like (signifier) it stands up" (Eisenman). One way of doing this is to simply conceal structure in favour of abstraction or underutilized concepts/ situations. 

9. Looking at common words (of your object) and questioning what it means in a contemporary environment or context. 

10. Continually interrogate and question the “language/ image/ object” of authority. 

11. Derrida’s concept of DIFFÈRANCE - binary opposition that is words draw their meaning from other words e.g., man - woman OR speech - writing etc. So firstly 1. identify an opposition That is to say one of the 2. that opposition is not mutual; making binary opposition always is a hierarchical opposition 3. deconstruct that opposition by privilege the underprivileged by showing that the intertwining of the opposites is so much that they can now be seen as not opposite at all!!! Derrida wants to show the play of differences (use this to design Ferdie’s house) show or account for differences that are traces of other differences; therefore, it’s like hearing someone speak and you can get meaning by imagining the spaces commas period between the words; so the relationship is between the words and the punctuations etc. that haunt or support the words VS. if they were not there. So, punctuations as just as important as the words spoken though they are in the background. 

12. In the concept of différance, one concept had the advantage over the other, a hierarchy of meanings. Speech is superior to writing because it is faster, but Derrida says that writing has its own merits too and another in philosophy is that reason is more important than passion - (e.g., So, Eisenman’s Memorial to the Murdered Jews). The death and the shade of death, or, assumed flat graves, vs 3D human scale life size rectangles, or the Holocaust stories vs. space between each event. he disrupts the monolithic monument and commemorative burial spaces. 

13. Derrida is saying we must pay more attention to the weaker side of the opposition and do acknowledgement of the difference or the other; those other words that haunt the original word e.g., Dog (cat, bone, or bark), deconstructing binary oppositions.

14. Words languages and signs are unstable and can never fully convey what they mean 

15. Words or signs are constantly referring to other words or signs in a never-ending cycle and it keeps developing, therefore language is unstable. 

16. In Spectres of Hauntology- elements come back from the past in a different form and meaning; and mean different things in a modern context … old European Marx died but today his ideologies have been rehabilitated e.g., Social Democracy (NOT democratic socialism) reemergence as something else. 

17. Historical figures can also bd Deconstructive forces - one version died and his version emerged those questions “authorities” or our modernity. 

18. Something like given meanings are always context relative

19. When Deconstructing - contradictions are always messy and are not meant to be straightened out or be in service of a higher truth.

20. Privilege presence over absence is a good example - structure is undermined.

21. “logocentrism” (method of literary analysis in which words and language are regarded as a fundamental expression of external reality, excluding non-linguistic factors such as historical context) - that typically privileges the spoken over the graphic also privileging consciousness over absence or what is outside of the grasp of reason. Derrida does not trust the authority of language, consciousness, subjectivity (what Ferdie’s house developers design is pushing with the standard planning) and reason. Distrust these concepts and do not add or prolong the developers work. (modern vernacular vs. extension) 

22. Différance - in French is distinguished from difference in French only in the writing (in architecture it is the observed and seen/ form and details that is the “writing” or proof of deconstruction and not the verbatim of it. That gives the FORM the leg up on FUNCTION that is now the follower. 

23. The binary between passive (existing hide) and active (new extension) what is the middle voice outside of the two? 

24. What is the structural network for Ferdie’s standard signifier plan house? the trace / différance between it and the ideas signified are, Maroon - red, covenant setbacks, tropical heat 🥵, tin roof, rectangle, precast concrete, etc. 

25. The trace or DIFFÉRANCE exists between the signs and the systematic play of differences (spaces by which elements are related to each other) - language, objects, shapes differ from observer to observer and eliminates “shared truths”. One concept is always superior to the other. 

26. Architecture and its varying characteristics has been corrupted by monolithic standardized developments. Developments that should promote architecture instead disrupts it. So, with it goes a decent quality of life. 

27. Substituting custom design (the natural) for standard design (unnatural), much like speech for writing, it performs or the ability to becomes available. “No written words needed!” 

28. Space is not an absence, it is a presence of a void. To create text from a space, one has to design its absence or in other words make its non-presence, presence. The circumstances (typically extraordinary) with parts either out of sync, not fitting together or out of proposition; or, misunderstanding each other or having agency over the other. These kinds of situations make good for deconstruction for architecture. 

29. Preservation - to do this, change is sometimes required; resist advocating for the wrong reasons; the "denial (by the) of the transcendental signified (the developer precast house)" (Eisenman) beyond all other possibilities can be a problematic constraint to design creativity and achieving change or even, justice. 

30. "Architecture does not mean that things have to be built; architecture is formed by space and time" (Eisenman). Ideas are what makes architecture evolve through space and time. Testing many ideas you devise is what makes you an architect. So writing and designing is required either by you or by someone who designs or writes from what you propose thought text or art or building art. 

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