8/20/2019 Post Modern Arch Bernard Tschumi
1/14
Moni bhardwaj
Scientist
InventorArtist
Architect
Artist
Poet
Author
Shri Ram College of Architecture I 3rd Year I Semester VI I Theory of Design I 2012-13 Shri Ram Group of Colleges
Post Modern Arch I Bernard Tschumi
http://www.amazon.com/exec/obidos/ASIN/3764358076/architectureb-20http://www.amazon.com/exec/obidos/ASIN/0810934949/architectureb-20http://images.google.com/imgres?imgurl=http://www.borxu.com/corbu/images/modular.jpg&imgrefurl=http://www.borxu.com/corbu/html/modular.html&usg=__ZCnUIVVWo4g2DA7LFsHeqIx9E6c=&h=265&w=250&sz=63&hl=en&start=4&sig2=io_U23Jd9C5Gp0TBlFtXgw&um=1&tbnid=uQNzP6yqlNzzSM:&tbnh=112&tbnw=106&ei=TTCBSYyHAdCs-gb264RP&prev=/images?q=modular+man&um=1&hl=en&rls=com.microsoft:en-us:IE-SearchBox&rlz=1I7GGIE_en&sa=N
8/20/2019 Post Modern Arch Bernard Tschumi
2/14
Bernard Tschumi (born January 25, 1944) is an
architect,
writer, and
educator,
commonly associated with deconstructivism
Early life
Son of the well-known architect Jean Tschumi, born of French and Swiss
parentage, he works and lives in New York and Paris. He studied in Paris and
at ETH in Zurich, where he received his degree in architecture in 1969.
Career
Tschumi has taught atPortsmouth Polytechnic in Portsmouth, UK,
Architectural Association in London,
Institute for Architecture and Urban Studies in New York, Princeton University,
Cooper Union in New York
Columbia University where he was Dean of the Graduate School of
Architecture, Planning and Preservation from 1988 to 2003.
Tschumi is a permanent U.S. resident.
Bernard Tschumi
8/20/2019 Post Modern Arch Bernard Tschumi
3/14
This approach unfolded along two lines in his architectural practice: first, by exposing the
conventionally defined connections between architectural sequences and the spaces, programs,
and movement which produce and reiterate these sequences; and second, by inventing new
associations between space and the events that 'take place' within it through processes of
defamiliarization, de-structuring, superimposition, and cross programming.
Tschumi's work in the later 1970s was refined through courses he taught at the Architectural
Association and projects such as The Screenplays (1977) and The Manhattan Transcripts (1981)
and evolved from montage techniques taken from film and techniques of the nouveau roman. His
use of event montage as a technique for the organization of program (systems of space, event,
and movement, as well as visual and formal techniques) challenged the work other contemporary
architects were conducting which focused on montage techniques as purely formal strategies.
Tschumi's work responded as well to prevalent strands of contemporary architectural theory that
had reached a point of closure, either through a misunderstanding of post-structuralist thought,or the failure of the liberal/leftist dream of successful political and cultural revolution. For
example, Super studio, one such branch of theoretically oriented architectural postmodernists,
began to produce ironic, unrealizable projects such as the 1969 Continuous Monument project,
which functioned as counter design and critique of the existing architecture culture, suggesting
the end of architecture's capacity to effect change on an urban or cultural scale. Tschumi
positioned his work to suggest alternatives to this endgame.
In 1978 he published an essay entitled The Pleasure of Architecture in which he used sexual
intercourse as a characterizing analogy for architecture. He claimed that architecture by nature is
fundamentally useless, setting it apart from "building". He demands a glorification of architectural
uselessness in which the chaos of sensuality and the order of purity combine to form structures
that evoke the space in which they are built. He distinguishes between the forming of knowledge
and the knowledge of form, contending that architecture is too often dismissed as the latter when
it can often be used as the former. Tschumi used this essay as a precursor to a later eponymous
series of writings detailing the so-called limits of architecture.
The Paul Cejas
School of
ArchitectureBuilding at
Florida
International
University in
Miami, Florida.
8/20/2019 Post Modern Arch Bernard Tschumi
4/14
8/20/2019 Post Modern Arch Bernard Tschumi
5/14
Theory
1960s-70s
Throughout his career as an architect, theorist, and academic, Bernard
Tschumi's work has re-evaluated architecture's role in the practice of personal
and political freedom. Since the 1970s, Tschumi has argued that there is nofixed relationship between architectural form and the events that take place
within it. The ethical and political imperatives that inform his work emphasize
the establishment of a proactive architecture which non-hierarchically engages
balances of power through programmatic and spatial devices. In Tschumi's
theory, architecture's role is not to express an extant social structure, but to
function as a tool for questioning that structure and revising it.
The experience of the May 1968 uprisings and the activities of the SituationistInternational oriented Tschumi's approach to design studios and seminars he
taught at the Architectural Association in London during the early 1970s. Within
that pedagogical context he combined film and literary theory with
architecture, expanding on the work of such thinkers as Roland Barthes and
Michel Foucault, in order to re-examine architecture's responsibility in
reinforcing unquestioned cultural narratives. A big influence on this work were
the theories and structural diagramming by the Russian Cinematographer SergeiEisenstein produced for his own films. Tschumi adapted Eisenstein's
diagrammatic methodology in his investigations to exploit the interstitial
condition between the elements of which a system is made of: space, event,
and movement (or activity). Best exemplified in his own words as, "the football
player skates across the battlefield." In this simple statement he was
highlighting the dislocation of orientation and any possibility of a singular
reading; a common resultant of the post-structuralist project.
8/20/2019 Post Modern Arch Bernard Tschumi
6/14
8/20/2019 Post Modern Arch Bernard Tschumi
7/14
Tschumi has continued this design agenda in a variety of design competitions and built projects
since 1983. The 1986 Tokyo National Theater and Opera House project continued the research that
Tschumi began in The Manhattan Transcripts, importing notational techniques from experimental
dance and musical scores, and using the design process itself to challenge habitual ways of thinking
about space, in contrast to earlier static, two dimensional representational techniques which
delineated the outline of a building but not the intensity of life within it. At a local scale in his 1990
Video Pavilion at Groningen, transparent walls and tilted floors produce an intense dislocation of thesubject in relation to norms like wall, interior and exterior, and horizon. At the urban scale in such
projects as the 1992 Le Fresnoy, Studio National des Arts Contemporains, in Tourcoing, France, and
the 1995 architecture school at Marne la Vallee, France (both completed 1999), larger spaces
challenge normative program sequence and accepted use. The Le Fresnoy complex accomplishes
this by its use of the space between the roofs of existing buildings and an added, huge umbrella roof
above them which creates an interstitial zone of program on ramps and catwalks. This zone is what
Tschumi calls the in-between, a negation of pure form or style that had been practiced in the 1989
ZKM Karlsruhe competition project, where a large atrium space punctuated by encapsulatedcirculation and smaller program episodes developed a more local network of interstitial space.
The capacity of an overlap of programs to effect a re-evaluation of architecture on an urban scale
had also been tested in the 1988 Kansai Airport competition, Lausanne Bridge city, and 1989
Bibliothèque de France competition. In the Bibliothèque de France, a major aspect of the proposed
scheme was a large public running track and sports facility on the roof of the complex, intersecting
with upper floors of the library program so that neither the sports program nor the intellectualprogram could exist without an impact on the other.
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: by regulating events, a more subtle and sophisticated regime of defamiliarizations was
produced than by aesthetic and symbolic systems of shock. The extreme limit-conditions of
architectural program became criteria to evaluate a building's capacity to function as a devicecapable of social organization.
8/20/2019 Post Modern Arch Bernard Tschumi
8/14
8/20/2019 Post Modern Arch Bernard Tschumi
9/14
8/20/2019 Post Modern Arch Bernard Tschumi
10/14
Blue Condominium, Lower East Side, New York (2007)Alfred Lerner Hall
8/20/2019 Post Modern Arch Bernard Tschumi
11/14
8/20/2019 Post Modern Arch Bernard Tschumi
12/14
8/20/2019 Post Modern Arch Bernard Tschumi
13/14
8/20/2019 Post Modern Arch Bernard Tschumi
14/14