Since the publication of Kenneth Frampton's Modern Architecture: A Critical History (first edition 1980) there has been a keen consciousness of the role of criticism within architectural theory. Whilst referencing Derrida as a philosophical influence, deconstructivism can also be seen as having as much a basis in critical theory as the other major offshoot of postmodernism, critical regionalism. The two aspects of critical theory, urgency and analysis, are found in deconstructivism. There is a tendency to re-examine and critique other works or precedents in deconstructivism, and also a tendency to set esthetic issues in the foreground. An example of this is the Wexner Center. Critical Theory, however, had at its core a critique of capitalism and its excess, and from that respect many of the works of the Deconstructivists would fail in that regard if only they are made for an elite and are, as objects, highly expensive, despite whatever critique they may claim to impart on the conventions of design.
The Wexner Center brings vital architectural topics such as function and precedent to prominence and displays their urgency in architectural discourse, in an analytical and critical way. The difference between criticality in deconstructivism and criticality in critical regionalism, is that critical regionalism reduces the overall level of complexity involved and maintains a clearer analysis while attempting to reconcile modernist architecture with local differences. In effect, this leads to a modernist "vernacular." Critical regionalism displays a lack of self-criticism and a utopianism of place. Deconstructivism, meanwhile, maintains a level of self-criticism, as well as external criticism and tends towards maintaining a level of complexity. Some architects identified with the movement, notably Frank Gehry, have actively rejected the classification of their work as deconstructivist.
The Guggenheim Museum Bilbao by Frank Gehry, on the Nervión River in downtown Bilbao, Spain.
Critics of deconstructivism see it as a purely formal exercise with little social significance. Kenneth Frampton finds it "elitist and detached." Other criticisms are similar to those of deconstructivist philosophy—that since the act of deconstruction is not an empirical process, it can result in whatever an architect wishes, and it thus suffers from a lack of consistency. Today there is a sense that the philosophical underpinnings of the beginning of the movement have been lost, and all that is left is the aesthetic of deconstruction.[13] Other criticisms reject the premise that architecture is a language capable of being the subject of linguistic philosophy, or, if it was a language in the past, critics claim it is no longer.[5] Others question the wisdom and impact on future generations of an architecture that rejects the past and presents no clear values as replacements and which often pursues strategies that are intentionally aggressive to human senses.
