Post Modern Arch Bernard Tschumi

8/20/2019 Post Modern Arch Bernard Tschumi

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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

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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


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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.


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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.


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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.


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Blue Condominium, Lower East Side, New York (2007)Alfred Lerner Hall


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Post Modern Arch Bernard Tschumi

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