The Tschumis Attempt to Deconstruct the Components of the Architecture - Case Study Example

Name Tutor Course Date Bernard Tschumi Bernard Tschumi is an architect, writer and educator, who was born in January 25, 1944 in Lausanne Switzerland, has French and Swiss parents. Tschumi too is commonly associated with great unique constructions. He lives and works in both New York and Paris. Tschumi studied in Paris and Zurich, where he received his degree in architecture by 1969. By 1970 Tschumi taught in different institution namely at Portsmouth Polytechnic, Architectural Association in London, the institute for Architecture among many others (Tschumi, 1996). He has a well established career in architect. Tschumi is known for his theory concerning the strategy of disjunctions. A theory that is based on his belief where contemporary culture and architecture were best expressed through fragmentations. A theory that was opposed to the classical ideal of unity, in this theory Tschumi advocated for a post-humanist architecture stressing dispersion and its effects on the entire notion. The theory clarifies on issues concerning a unified, coherent architectural form (Tschumi, 1996). The Tschumi’s attempt to deconstruct the components of architecture is seen in relation to the linguistic theories of the French philosopher Jacques Derrida. Tschumi is well known for his architecture drawing exhibited in Europe and North America; he has designed a number of experimental constructions that he refers to as the follies. It refers to the doable meaning being a construction state imbalance and a small pleasure pavilion. It is during the 1981 when he published The Manhattan Transcripts; in this he exploited the cinematographic themes of frame and sequence. In this article Tschumi used sexual intercourse as a characterized analogy for architectural un-resourceful nature, in which he explained the chaos sensuality and order of purity that were combined to form structures that evoke space in which they are built. In his transcript a clear distinction between the forming of knowledge and the knowledge of form is given. He further argues that architecture is often dismissed as the latter rather than a former, in this Tschumi exploited writing essay as a precursor that later on created the series of writings that confirms to be usually referred to as limits of architecture (Hartoonian, 2006). In 1983 Tschumi won the international competition for the planning of the Parc de la Villete, this was an ill-defined site 35hectares in a working-class resident in the northern parts of Paris. This regards obsolete picturesque tradition derived from Frederick Law Olmsted, where he proposed an urban park for the 21st century (Walker, 2006). He too was involved in designing of many other modern urban entertainment and social interaction and as far as the individual contact with nature. His scheme paid little attention to the existing structures, as he based on the super imposition on the site of series that he concentrated on the theoretical points, lines and surfaces. Tschumi build a lot of these follies and other facilities and as well coordinated by other architects and landscape designers. The whole process gave his architectural career a messily anonymous boost, that so his on a frequent finalist in many international competitions which include those done at the National Theatre, Opera House, Tokyo and that at the country hall, Strasbourg (Damiani,2003). . There great measures that defines Tschumi’s success and critical understanding of architecture. To many who have witnessed his works in architecture applauds in agreement that indeed they remains at the core of his practice today. His architectural works have over turned many odds as seen by many, his works has involved designs conditions for a reinvention of living, rather than basing on repetitive aesthetic or symbolic conditions designs that are already established. In this sense architecture to him becomes a frame for construction situations, a notion that is informed in his theory, city mapping and urban designs of situations international (McQuaid, 2002). Tchumi’ Inspiration There are great ideas that have seen his career as an architect graduate in sequence of success. His inspiration in most of the job done calls for the moment cinema was invented, as this works as part of the wave that is associated with improved technological innovation at the beginning of the 20th century. To him this changed the way architects and designers conceived space. The basis to support his argument likely being the airplane, automobile, and the specific theories that were all invented nearly coincidentally (McQuaid, 2002). This has since superseded the single point perspective concept of space as inherited since the renaissance and certain architects notably Bernard Tschumi, Rem Koolhaas among others, Tschumi and Diller made a number of investigations on projects in the nature of perception making use the idea of cinema medium as part of their work. This clearly proves film being a major source of inspiration. However, Tschumi believes in any political ideas of the organization comes with architecture. Most of the works done by Tschumi are ethologically motivated in the sense that uses the terms to propose an emergent ethics that depends on the reevaluation of self identity and body (Puglisi, 2009). Looking at Tshumi’s works in the later 1970s they were refined through courses he taught at the Architectural Association and projects that were modified included The Screenplays initially done in 1977and The Manhattan Transcripts 1981 all these evolved from the montage techniques taken from the roman film techniques. His use of event montage as the techniques for the organization of program really challenged the other contemporary architects, as his works focused on montage techniques as purely formal strategies. On the other hand Tschumi’s works responded better to prevalent strands of contemporary architectural theories that had reached a point of closure. At the local scale in his 1990 video Pavilion Groningen, transparent walls and tilted floors produced an intense differentiation of the subjects when related to the normal norms in the art such as wall, interior and exterior (Damiani,2003). All his works such as the urban scale in such projects referring to the 1992 Art and media school at Fresnoy, France, and the 1995 architecture school at Marne la Villee both works done in France, competed in 1999. For him he feels larger spaces are challenging to work with, as they create normative program sequence and acceptance use, in this case the fresnoy complexes the accomplishes this by its use of space between the roofs of the existing buildings and an adds a huge umbrella roof above them which creates an inters tile zone of program episodes develops amore local network of space (Nesbitt, 2006). The capacity of an overlap according to Tschumi’s works program has effected a reevaluation of architecture on an urban scale. It was tested in 1988 Kansai Airport Competition, Lausanne Bridge city and others in 1989 France completions. In the Tschumi opposed the the methods used by the architects for centuries, in the geometrically evaluate façade and plan composition on the same structure plans. By advocating a recombination of program, space and cultural narrative Tchumi involved the architects to reinvent themselves a main subject (Tschumi, 1996). Bernard Tschumi on Deconstruction By advocating for recombinations of program, space and cultural narrative, Tschumi asked the user to critically reinvent himself as a subject. After Tscumi had established formidable theories on the post-structure architecture in 1960s and 70s, he won the commission for New Acropolis Museum. This competition so the museum offer a seemingly placid stance, focused on the impressive Athenian light and landscape while remaining precise in imagination and have a sophisticated form(Walker, 2006). In 1976 Tschumi gave his students at the architectural Association a project, where the students were to take a project done by James Joyce’s Finnegan Wake and design a landscape plan for the text. Individual student was assigned a point on the grid of the Covent Garden in London. This project served as one of his work concepts used at Parc De le Villette seven years down the line. He believes that having a good organized group generate great ideas and design them to happen. Deconstructive-ism done by Tchumi James Joyce’s Finnegan Wake style clearly pulls out how Tschumi is influenced in the performance as prescribe by the transcript. The student task was to get the key words as highlighted by Tschume in the Manhattan transcript commonly referred to as the London Academy Editions, 1994. This refers to the development of postmodern architecture that began in late 1980s (Puglisi, 2009). The art is characterized by ideas of fragmentations an interest sidelined to manipulate ideas of a structure’s surface, non-rectilinear shapes which serve to dislocate and distorted some of the elements of architecture such as the structure and envelope. Tschumi’s important events in the history of the deconstruction activities include designs concerning the 1982 Parc dela villette architecture competitions. Originally some of the architectures works known as deconstructive by Tschumi and other architectures were influenced by the idea of the French philosopher Jacques Derrida. On several accounts Tschumi developed a personal relationship with Derrida, but even this approach to architectural designs was developed long before he acquired deconstructive traits (Walker, 2006). For Tscumi deconstructive ideas were considered extension of his interest in radical formalism. Some practitioners of deconstructive were also influenced by the formal experimentation and geometric imbalances concerning the Russian constructivism. The attempt by many other architects in deconstructive to throughout to move architecture a way from what most architectural practitioners see as the constricting rules of modernism such as form following the purity and truth in the materials (Tschumi, 1996). Modernized Architecture The contemporary architecture stands their opposition to the order of rationality in a modernized ideology. In this kind of relationship postmodernism is truly contrary. In addition to opposition to another text that separated deconstructive from the fray of modern and postmodern. Complex and a series of contradicting in handling works concerning architecture, on most case the script written and analyzed by Tschumi were against and defined different points concerning the purity, simplicity and clarity of modernism in architect practice (Nesbitt, 2006). Just as the academy prepares its students to manage their practical, he involves complexity of architectural practices, to all students with whom he thought. Introduction of an integrated concept of practices involved theory and ethics as the essential components. On the other hand Tschumi was opposed to the theory of an inflexible grand narrative, but remained keen to identify what other architect had grounded their work (Damiani,2003). The great architect clearly proved out what specialization benefits are as this helped in conceptualization of the art and implementing the practice in a physical condition. All his works he employees necessary capacity to realize project and place as design thinking, that is informed through theory. These are basic methods that are basically referred to when architects employs the mode of techniques to cope with the rapidly changing and the adverse knowledge required in practice (McQuaid, 2002). A convergence of recent societal trends, three in particular that is widely embraced by many, has placed Tschumi in powerful to influence positive changes through insight designing. He fosters the practice professionally creating a public concerns and ethical responsibilities for the environment, sustainability as a professional concept now that the public demands for environmental improvement measures. According to Hartoonian (2006), in all his architectural works, Tschumi has remained relevant and observed keen requirement as demanded by the public. The art and skill he possesses has ever kept higher standards. Basing on all that he has achieved, his art constantly with stands the most definite challenges associated with architectural practitioners. The program involved in his architectural work remains flexible as designs, since strong theoretical basis and other technical supportive experts are accommodated while pursuing his career (Massimiliano, 2000). The basic building were the subject of problematic and intricacies in deconstruction with no detachment for ornaments, rather than separating ornaments and functions like postmodernism, according to Tschumi the complication of geometry was in turn applied to the functional, structural, and special aspects of deconstructing buildings. One example on these can be easily referred to Gehry’s Vitra designs Museum in weil-am-Rhein in these he takes a typical unadorned white cube of moderns art work. This intern subverts the functional aspects of modernist simplicity while taking modernism, particularly on the international style (Salingaros, 2008). Critics on deconstruction are seen as a purely formal exercise with little social significance detached enlists. The other criticisms are similar to those of deconstructive, which has no empirical process, this can result in whatever the architect wishes, thus suffers from luck of consistency. Basing on the works done by Tschumi in the current arts, it brings sense underpinning the movement has been lost and that remains is the aesthetic of deconstruction. It can also reject the promise that architecture is a language capable of being the subject of linguistic philosophy, or if it did in the past at the moment this architect feels it does not work in today’s architect practice (Bekkering, 2008). Throughout his career as an architect, theorist and academic, Tschumi’s work has ever re-evaluated the architectural role in the practice of personal and political freedom. Basing on the works done since 1970s up to date he has remained creative and innovative all through his career. In the modernized technology his works is specifically impressive against all odds as he have passed through massive competition topping the list of other many professional architects. In his approach as an architect practitioner he unfolds exposing the conventionally defined connections between architectural sequences concerning spaces, programs and movement which produce and repeat these sequences. His art of doing the architecture is fundamental and core to his practice today. Works Cited Bekkering, Hay. The Architecture Annual: delft University of Technology. London: 010 Publishers, 2008. Hartoonian, Gevork. Crisis of the object: the architecture of theatricality. New York: Taylor & Francis, 2006. Massimiliano Fuksas, Biennale di Venezia. Città: less aesthetics more ethics. Paris: La Biennale di Venezia : Marsilio, 2000. McQuaid, Matilda. Envisioning architecture: drawings from the Museum of Modern Art. New york: The Museum of Modern Art, 2002. Michael Hays, Giovanni Damiani, Marco De Michelis. Bernard Tschumi. New York: Universe Publishing, a division of Rizzoli International Pub, 2003. Nesbitt, Kate. Theorizing a new agenda for architecture: an anthology of architectural theory. New York: Princeton Architectural Press, 1996. Puglisi, Luigi Prestinenza. Theoretical Meltdown. london: John Wiley and Sons, 2009. Salingaros, Nikos. Anti-Architecture and Deconstruction. New York: BoD – Books on Demand, 2008. Tschumi, Bernard. Architecture and disjunction. New York: MIT Press,, 1996. Walker, Enrique. Tschumi on architecture: conversations with Enrique Walker. Michigan city: Monacelli Press, , 2006. Read More

He too was involved in designing of many other modern urban entertainment and social interaction and as far as the individual contact with nature. His scheme paid little attention to the existing structures, as he based on the super imposition on the site of series that he concentrated on the theoretical points, lines and surfaces. Tschumi build a lot of these follies and other facilities and as well coordinated by other architects and landscape designers. The whole process gave his architectural career a messily anonymous boost, that so his on a frequent finalist in many international competitions which include those done at the National Theatre, Opera House, Tokyo and that at the country hall, Strasbourg (Damiani,2003). . There great measures that defines Tschumi’s success and critical understanding of architecture.

To many who have witnessed his works in architecture applauds in agreement that indeed they remains at the core of his practice today. His architectural works have over turned many odds as seen by many, his works has involved designs conditions for a reinvention of living, rather than basing on repetitive aesthetic or symbolic conditions designs that are already established. In this sense architecture to him becomes a frame for construction situations, a notion that is informed in his theory, city mapping and urban designs of situations international (McQuaid, 2002).

Tchumi’ Inspiration There are great ideas that have seen his career as an architect graduate in sequence of success. His inspiration in most of the job done calls for the moment cinema was invented, as this works as part of the wave that is associated with improved technological innovation at the beginning of the 20th century. To him this changed the way architects and designers conceived space. The basis to support his argument likely being the airplane, automobile, and the specific theories that were all invented nearly coincidentally (McQuaid, 2002).

This has since superseded the single point perspective concept of space as inherited since the renaissance and certain architects notably Bernard Tschumi, Rem Koolhaas among others, Tschumi and Diller made a number of investigations on projects in the nature of perception making use the idea of cinema medium as part of their work. This clearly proves film being a major source of inspiration. However, Tschumi believes in any political ideas of the organization comes with architecture. Most of the works done by Tschumi are ethologically motivated in the sense that uses the terms to propose an emergent ethics that depends on the reevaluation of self identity and body (Puglisi, 2009).

Looking at Tshumi’s works in the later 1970s they were refined through courses he taught at the Architectural Association and projects that were modified included The Screenplays initially done in 1977and The Manhattan Transcripts 1981 all these evolved from the montage techniques taken from the roman film techniques. His use of event montage as the techniques for the organization of program really challenged the other contemporary architects, as his works focused on montage techniques as purely formal strategies.

On the other hand Tschumi’s works responded better to prevalent strands of contemporary architectural theories that had reached a point of closure. At the local scale in his 1990 video Pavilion Groningen, transparent walls and tilted floors produced an intense differentiation of the subjects when related to the normal norms in the art such as wall, interior and exterior (Damiani,2003). All his works such as the urban scale in such projects referring to the 1992 Art and media school at Fresnoy, France, and the 1995 architecture school at Marne la Villee both works done in France, competed in 1999.

For him he feels larger spaces are challenging to work with, as they create normative program sequence and acceptance use, in this case the fresnoy complexes the accomplishes this by its use of space between the roofs of the existing buildings and an adds a huge umbrella roof above them which creates an inters tile zone of program episodes develops amore local network of space (Nesbitt, 2006).

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