Fragmentation 's like having a million pieces of mosaic that do not make the same shape, which can never be put together and build a unit, as it does not come from a unified whole. D. Libeskind, 1991
The choice of multiplicity through the idea of \u200b\u200b
"fracture " the integrity of the work is now compromised and abandoned. This is not a simple process of breaking up or dismantling of each analytical component, the process is not reversible.
The object is broken, done in a thousand pieces, sometimes torn like a sudden explosion, sometimes compressed and deformed by a force opposite imploding. The result of this event, this process of destabilization, more or less deep inside, is the disruption of the mechanisms of cohesion, the loss of internal links, the syntactic structures of the work. Even here, however, there are different degrees and intensity. Sometimes
fragmentation manifests itself as a simple split, as a clear break of continuity and logic of the physical, sometimes more pronounced as a fracture or instability of the whole, yet at other times as a real process total deconstruction. The idea of \u200b\u200bfracture can be found in denominations of Lucio Fontana or in the works of Matta Clark, in particular, Splitting in
, making a literal resection in two parts of an abandoned house.
"A new fact of the sculpture, called Fontana and his works, a different way of thinking about architecture for Matta Clark, for whom it was said that" perhaps the most significant result achieved was to demonstrate that ' architecture can transcend disciplinary boundaries and directly knocking at the door of dreams. "
The theme of the fracture can be boosted, leaving the size of the minimal gesture even if disruptive and become fragmented. The French artist Arman is an interpreter of great and original topic, earning the nickname "poet vandal." In his works, after buying some items, often musical instruments, destroys them with sudden fury reducing them to pieces. In his Chopin's Waterloo
effect and shocking, nothing is left, all the pieces, buttons, whites and blacks, ropes, hammers, sounding the same shall be destroyed and scattered in the act of cathartic reunion with the manifold and the primordial chaos. The thousands of fragments of the piano, kept almost religiously in the precise position resulted, incidentally, of the destructive, producing only a distant echo of its original integrity.
In the work of the Japanese Hiromi Fujii or in those of many others, among them Peter Eisenman, modalities, intensity, times are different those of the French, but the point of departure and the deconstruction process as a whole are the same. In Fujii for example, the starting point is always unity. He like Arman, choose a set of objects intact, regular volumes of parallelepipeds pure, they have regularly as a mesh, a standard form, and then by progressive rotation, hinges, cracks and disconnections, undermines the entire system, to define a final configuration in which the plots, the lattices, the orthogonality intertwine and overlap chaotically.
If this diversity comes from "break" meant as an explosion, it can also be the result, instead, of an implosion, an inward movement, configured as a compression
. A system of forces, this time from outside to inside, spoke on the mass, modify, distort, disturb the peace and quiet to hide from their original form in a new form. E 'space
"folded" Eisenman, where there is neither horizontal nor vertical, nor the deduction nor out, nor any other rule of construction privileged. Everything changes with no apparent rules, same as if a press crushing walls, floors, structures, changing, in addition to form, the function of a single part. 'S why the space folded, as Eisenman says, it loses all contact with reason, with the function, meaning, the object becomes rational emotive, from functional aesthetics, unique from multiple
. "The idea of \u200b\u200b'folding' modified three-dimensional space vision. Folded space is a kind of emotional space, about those aspects that are no longer associated with affection, no longer the reason, the meaning, function . "We are witnessing a metamorphosis which, passing through a stage of degradation, denial, the object of violence , reaches its full rehabilitation, the liberation of the infinite expressive potential of the material, color, mass. A process simultaneously random and logical, positive and negative, contradictory but actually quite natural.
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