From its small but brisk beginnings in the late 1980’s, through to the early 1990’s, Deconstructivism has been described as ‘the most relevant and controversial phenomenon’ (Puglisi, 2008, P.63). The concept behind the word deconstructivism originally roots back to French philosopher Derrida who devised a strategy enabling the critical break down of philosophical texts as a way to discover the less obvious (Johnson and Noever, 1992, P.10). When applied to architectural terms, despite often misconceptions, deconstructivism does not mean to dismantle a buildings structure in a literal sense (Johnson and Noever, 1992, P.11), but rather to locate dilemmas associated within a building (Jodidio, 2012, P.9).

Having been noted as a style that ‘neither imitates nor ignores’ its context (Puglisi, 2008, P.18-19), deconstructivism provided a solution to previous architectural movements through consideration of evolution and experimentation; along with new technology, advanced materials, and reference to a style that was incomplete (Puglisi, 2008, P.9).

This style came to light in New York at the Museum of Modern Art (MoMA), who opened its doors to the Deconstructivist Architecture exhibition in 1988; presenting the works of seven architectural practices (Puglisi, 2008, P.9). The majority of the architects involved in the MoMA exhibition now separate their name from Deconstructivism, a style which is considered to have superseded post-modernism (Puglisi, 2008, P.22). Rather than carrying a definitive label, Libeskind often disregards this term ‘because architecture, if anything, doesn’t really deconstruct – it constructs things’ (Croll, 2015). Ironically, prior to the exhibition, Libeskind was not perceived to be a leading designer nor widely recognised in the field of architecture – this lead to critics branding him a paper architect. Marotta explains this concept as the following:

                  Paper architecture is a considerably important phenomenon. It was a movement that looked into                           the project through themes, shifting the attention onto a conceptual, destructured, unrepresentative                       space (Marotta, 2007, P.183).

This provides evidence that Libeskinds involvement in the Deconstructivist Architecture exhibition played an influential role in shaping him into the notable architect he is today. And although Libeskind expresses an eager separation from the term, deconstructivism has been noted as an ‘architectural titan behind some of the world’s most empathetic buildings…’ (Croll, 2015).

In summary, despite the inauguration of the Jewish Museum proceeding in January 1999, several years after Deconstructivism was considered obsolete; the design process along with structural techniques were heavily influenced by the former movement. It is in no way surprising that this design process implemented aspects associated with deconstructivism, due to the exhibition and the museum competition both commencing in 1988 (Schneider, 2007, P.19) – these design processes include fragmented geometric spaces and industrial materials (Puglisi, 2008, P.129).