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Tschumi developed the Manhattan Transcripts from 1977 to 1981 as a set of theoretical drawings as he was exploring the use of notation and the effectiveness of disjunction. This was in an effort to come up with new ways of expressing a few of the traditional means of representing architectural forms.
Tschumi had the theoretical agenda of describing elements that have roots in the conventional architectural representation shown by the complex relationship between spaces and their uses, objects and events, as well as typology and program, when he developed the Manhattan Transcripts. His work focused on a set of disjunctions among use, form, and social values. The programs in the transcripts have the most extreme nature as they bring out the plot of the archetype of murder. The transcripts try to introduce a different insight of architecture which shows the independent, yet related aspects of space, movements, and events (Tschumi, “Urban Pleasures” 11).
When it comes to classification, the transcripts offer a different perspective to architecture whereby space, events, and movements are ultimately independent, but at the same time, related to one another. This leads to breaking down of conventional architectural components and rebuilding them along different lines (Tschumi, “Disjunctions” 117).
All the four sections of the Manhattan Transcripts use their tentative format to explore unlikely confrontations, therefore, bringing to light the fact that perhaps, all architecture, apart from being about functional standards, is all about love and death. The Manhattan Transcripts are not a random accumulation of events, but rather they display a certain order that makes them not to be self-contained images. They have a final cumulative meaning that depends on the succession of spaces.
The representation of events, movements, and spaces indicate the use of tripartite notation in the Manhattan Transcripts. Movement in the
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