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Shreyank Vyavahare
A brief biography.
Bernard Tschumi is an architect and educator born in Lausanne,
Switzerland in 1944.
He also taught at the Institute for Architecture and Urban Studies at New York in 1976 and at
Princeton University in 1976 and 1980.
From 1981 to 1983 he was visiting professor at the Cooper Union School of Architecture in
New York.
He has been Dean of the Graduate School of Architecture, Planning and Preservation at
Columbia University in New York from 1988 to 2003.
A brief biography.
Form follows fiction is one example of Bernard Tschumi's
rules of architectonic notation that have made him an
internationally influential theorist.
Screenplays, 1978.
The Screenplays are investigations of concepts as well as techniques, proposing simple
hypotheses and then testing them out. They explore the relation between events (the
program) and architectural spaces, on one hand, and transformational devices of a
sequential nature, on the other.
Screenplays, 1978.
The use of film images in these works originated in Tschumi's interest in sequences
and programmatic concerns. (There is no architecture without action, no architecture
without event, no architecture without program.) Rather than composing fictional
events or sequences, it seemed more informative to act upon existing ones.
The cinema thus was an obvious source. At the same time, the rich formal and
narrative inventions of the only genuine 20th-century art inevitably encouraged
parallels with current architectural thought. Flashbacks, crosscutting, jumpcuts,
dissolves and other editing devices provided a rich set of analogies to the time and
space nature of architecture.
Yet
the concerns of the Screenplays were essentially architectural. They dealt with
issues of:
- material (generators of form: reality, abstraction, movement, events, etc.)
- device (disjunction, distortion, repetition, and superimposition)
- counterpoint (between movement and space, events and spaces, etc.)
Screenplays, 1978.
At
The dominant theme of the Transcripts is a set of disjunctions among use, form, and social
values, the non-coincidence between meaning and being, movement and space, man and
object was the starting condition of the work.
Yet the inevitable confrontation of these terms produced effects of far ranging consequence.
The Transcripts tried to offer a different reading of architecture in which space, movement
and events were independent, yet stood in a new relation to one another, so that the
conventional components of architecture were broken down and rebuilt along different axes.
Design Requirements :
Parc de la Villettes design is the opposite of the 19th century park in the city that Frederick
Law Olmstead championed, because the residents of a modern 21st century city are different from
their 19th century counterparts, their parks should also be different.
The idea of a city park as a naturalistic representation in the heart of the city does not necessarily
satisfy the various needs of current city dwellers.
Parisian city parks no longer serve as communal areas. Instead, they are used mostly by children
and the elderly, and function as the meeting place the town square once provided.
Paris is no longer organized around a traditional center but spreads out into the suburbs, causing
the central focus to be diffused.
Aerial View
of the site
while under
construction.
Site Plan.
Points
2.
Lines
3.
Surfaces
Superimposition: lines,
points, surfaces.
North-south gallery
A5
East-west passage
3. Surfaces
The park surfaces receive all activities requiring large expanses of horizontal space for play,
sports and exercise, mass-entertainment, markets and so forth.
During summer nights, for example, the central green becomes an open air film theater for
3,000 viewers. The so called left over surfaces where all aspects of the program have been
fulfilled, are composed of compacted earth and gravel.
Night View
Architecture
as form
Architecture
as event
VS
a static definition
of architecture
a dynamic definition
of architecture
One day, a dance company decided to use the building for a performance.
People were sitting outside the building and looking into the spectacle on
the ramps. They had understood the building.
Znith Concert Hall & Exhibition Center, Rouen, France, 1998 - 2001.
The motive of this project was to create
a tool capable of fostering the economic
expansion and cultural development of
the Rouen district at the beginning of the
21st century.
Znith Concert Hall & Exhibition Center, Rouen, France, 1998 - 2001.
The design of the buildings offers a degree of polyvalence. The 700 foot long exhibition hall is
conceived as a simple structure with a slightly vaulted roof, its horizontality contrasting with
the curvature and guywired masts of the 350 foot diameter concert hall.
Znith Concert Hall & Exhibition Center, Rouen, France, 1998 - 2001.
Exhibition Hall
Concert Hall
Axonometric view
Znith Concert Hall & Exhibition Center, Rouen, France, 1998 - 2001.
concert hall
exhibition hall
Znith Concert Hall & Exhibition Center, Rouen, France, 1998 - 2001.
In the concert hall, the typology of the
classic concert facility has been transformed
by developing a slight asymmetry in the
audience seating that produces the form of a
broken torus.
Axonometric
Torus plan
Znith Concert Hall & Exhibition Center, Rouen, France, 1998 - 2001.
Znith Concert Hall & Exhibition Center, Rouen, France, 1998 - 2001.
Znith Concert Hall & Exhibition Center, Rouen, France, 1998 - 2001.
Znith Concert Hall & Exhibition Center, Rouen, France, 1998 - 2001.
Znith Concert Hall & Exhibition Center, Rouen, France, 1998 - 2001.
The structural system of the roof permits an economical long span with tension cables to
hold the middle of the long spans, allowing a lighter truss system.
Znith Concert Hall & Exhibition Center, Rouen, France, 1998 - 2001.
Acoustical concerns led to a complete double envelope surrounding the concert hall. The inner
skin and concrete stepped seating are doubled by the exterior skin of insulated corrugated metal.
Znith Concert Hall & Exhibition Center, Rouen, France, 1998 - 2001.
The outer shell structure made up of arches of tubular steel with a constant radius, like a
secondary frame of rectangular profiles, covered with panels of corrugated sheet steel.
Znith Concert Hall & Exhibition Center, Rouen, France, 1998 - 2001.
The structural frame is more of a fusion of steel and concrete framework with steel holding the
outer shell and inside concrete holding the slab.
Znith Concert Hall & Exhibition Center, Rouen, France, 1998 - 2001.
Znith Concert Hall & Exhibition Center, Rouen, France, 1998 - 2001.
Architecture only survives where it negates the form that society expects of it.
Where it negates itself by transgressing the limits that history has set for it.
The design by Bernard Tschumi was selected as the winning project in the second competition
for the design of the New Acropolis Museum.
Tschumi's design revolves around three concepts: light, movement, and a tectonic &
programmatic element, which together turn the constraints of the site into an architectural
opportunity, offering a simple and precise museum with the mathematical and conceptual
clarity of ancient Greek buildings.
A mezzanine
Plan at mid-level
The characteristics
of its glass enclosure
provide ideal light for
sculpture, in direct
view to and from the
reference point of the
Acropolis.
The enclosure is
designed so as to
protect the sculptures
and visitors against
excess heat and light.
Base
There
Concept model
Front elevation
Synopsis
Tschumis style of design is often an integration of linear
and curvature forms in his architecture. An example of this
integration may be found in the Parc de la Villette in Paris,
France.
The linear characteristics of Tschumis designs are often accompanied by those of curved or
organic form.
Tschumi combines the urbanistic and naturalistic qualities of the site in his building designs
to create modernist qualities in his designs.
Another
key to defining Tschumis design style is that his designs strive to integrate into the
environment they encompass. However, they dont integrate in a way that they blend in, the
integrate in a way that they work functionally and visually portray Tschumis design
intentions.
Conclusion
With these projects Tschumi opposed the methods used by architects for centuries to
geometrically evaluate facade and plan composition.
In this way he suggested that habitual routines of daily life could be more effectively
challenged by a full spectrum of design tactics ranging from shock to subterfuge.
Tschumi's critical understanding of architecture remains at the core of his practice today.
By arguing that there is no space without event, he designs conditions for a reinvention
of living, rather than repeating established aesthetic or symbolic conditions of design.
Responding to the disjunction between use, form, and social values by which he
characterizes the postmodern condition, Tschumi's design research encourages a wide
range of narratives and ambiences to emerge and to self organize.
Thank You