In the history of space we have now arrived at deconstructed space as the leading edge spatial paradigm of the moment. To arrive there we have travelled from the spherical, static, geocentric and limited space of the ancient and medieval world, through the constructed perspective space of the Renaissance, and more recently the relativistic space/time of the modern era.

 Deconstructed space is not space at all in the usual sense; it is the dimensionless, boundless space of the cyberworld. The very construct of space has been deconstructed and then reconstructed as cyberspace.

Space has become a quickly traversed event space. The apparent limitations of this new conception of space are the human imagination and the speed of light. There is no longer a separation between space and the actors within that space—it is transitory.

Deconstructed space does not exist unless someone engages it. The tree does not fall in the forest until someone is there to programme it to fall. Whether or not it makes a sound is dependent upon the volume button.

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Architects are beginning to flirt with the possibilities of representing deconstructed space within the Limitations of traditional tangible space. Daniel Libeskind’s Jewish Museum provides a glimpse into deconstructed space. The play of the straight and fragmented zig-zag lines, representing sudden illumination or destruction, begin to approximate the experience of deconstructed space. Ultimately, there may be no place for tangible and predetermined architecture in the world of deconstructed space.




In the architecture of deconstructed space even gravity, the weather and daylight are no longer relevant. The video game is an ironic twist on the notion of deconstructed space. It constructs fantasy worlds of traditional Euclidean space that only exist in deconstructed space (one wonders if there will be future difficulty in making a distinction).