Bernard tschumi design style

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a brief about Bernard Tschumi and his wonderful parc de la villette

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Bernard tschumi design style

  1. 1. Bernard Tschumi
  2. 2. <ul><li>  An architect, writer, and educator, commonly associated with deconstructivism. </li></ul><ul><li>He studied, works and lives in  Paris and New York. </li></ul><ul><li>  He was born of French and Swiss parentage. </li></ul><ul><li>  He studied in Paris and at ETH in Zurich, where he received his degree in architecture in 1969. </li></ul>ABOUT TSCHUMI
  3. 3. HIS BELIEFS <ul><li>Tschumi has argued that there is no fix ed relationship between architectural form and the events that take place within it. </li></ul><ul><li>He emphasized the establishment of a non-hierarchical architecture to achieve balance through programmatic and spatial devices. </li></ul>
  4. 4. <ul><li>He used the event of montage* as a technique for the organization of progra m (systems of space, event, and moveme nt, as well as visual and formal techniques) </li></ul><ul><li>His designs strive to integrate into the environment they encompass in a way that they work functionally and visually portray his design intentions and not in a way that they blend in the surroundings. </li></ul><ul><li>  * A single pictorial composition made by superimposing many pictures or designs. </li></ul>
  5. 5. ARCHITECTURAL DESIGN STYLE <ul><li>Tschumi’s style of design is often an integration of linear and curvature forms in his architecture. </li></ul><ul><li>The primary basis of Tschumi’s designs is the grid. Whether it be horizontal or vertical, angled or straight, it is usually a dominant part of his designs. </li></ul><ul><li>The grids incorporated in his designs are usually derived from characteristics of the building site or the city. </li></ul>PARC DE LA VILLETE,PARIS
  6. 6. In each of Tschumi’s projects pictured below, the linear and curvature qualities of the grid and the curve are key elements that define Tschumi’s architectural design style.
  7. 7. <ul><li>Tschumi derives the elements of his designs forms from: </li></ul><ul><ul><li>Existing cyclical patterns: </li></ul></ul><ul><ul><ul><ul><li>Vehicular, Pedestrian, Sun/Shadow </li></ul></ul></ul></ul><ul><ul><li>Linear connections to relevant city features: </li></ul></ul><ul><ul><ul><ul><li>Parks, Museums, Public Spaces, Monuments, Natural Land Features </li></ul></ul></ul></ul><ul><ul><li>Topography patterns within the building site. </li></ul></ul>
  8. 8. HIS WORKS THE ACROPOLIS MUSEUM,ATHENS ATMOSPHERE PARK, SANTIAGO BLUE RESIDENTIAL TOWER, NEW YORK ROUEN CONCERT HALL, ROUEN PARC DE LA VILLETTE,PARIS
  9. 9. HISTORY <ul><li>Tschumi won a major design competition and sought the opinions of the deconstructionist philosopher,  Jacques Derrida and was chosen from over 470 entries including that of Zaha Hadid and Jean Nouvel. </li></ul><ul><li>It was built from 1984 to 1987 on the site of the huge Parisian slaughterhouses and the national wholesale meat market, as part of an urban redevelopment project. </li></ul>
  10. 10. DESIGN : POINTS,LINES,SURFACES POINTS: <ul><li>The 135 acre site is organized spatially through a grid of 35 points, or what Tschumi calls follies. </li></ul>Follies give a dimensional and organizational to the park serving as points of reference. The repetitive nature of each folly, even though each one is unique and different , allow for the visitors to retain a sense of place through the large park.
  11. 11. FOLLIES <ul><li>Probably the most iconic pieces of the park, the follies act as architectural representations of deconstruction. </li></ul><ul><li>Some of the follies have been converted into restaurants, offices, and information centers for the park. </li></ul>FOLLIES FOLLIES FOLLIES FOLLIES
  12. 12. LINES: Lines are the main movement paths across the park The paths do not follow any organizational structure; rather they intersect and lead to various points of intersection within the park and the surrounding urban area. NORTH-SOUTH AXIS EAST-WEST AXIS
  13. 13. SURFACES: <ul><li>Of the 135 acres, 85 acres are dedicated to the green space, which are categorized as surfaces. </li></ul>SURFACES SURFACES SURFACES SURFACES SURFACES
  14. 14. DECONSTRUCTIVISM - IDEAS Tschumi was not particularly interested in either the real or virtual worlds, separately, but he was attracted to the tension between those two worlds and felt that when the real and the virtual worlds come together, tension is created and the potential for design begins. He wanted the park to be a space for activity and interaction that would evoke a sense of freedom.   He designed the Parc de la Villette with the intention of creating a space that exists in a vacuum, something without historical precedent.
  15. 15. EVENTS OF THE PERIOD THAT MAY HAVE INFLUENCED HIS DESIGN In 1976 Tschumi gave his students at the Architectural Association a project: They were to take James Joyce’s Finnegans Wake and design a landscape plan from the text. Each student was assigned a point on a grid of Covent Garden in London, Tschumi’s way of organizing the students to get a lot of work done.This project was named Joyce’s Garden and would be one of the concepts used for Parc de le Villette seven years later. In 1976 Tschumi was doing some research called the Screenplays or the Manhattan Transcripts in which he was experimenting with movement, events and the systems of points, lines and surfaces. He was testing ideas on movements and the dynamic of events and activity, and this became his deciding strategy to enter the competition for Parc de le Villette and use multiple devices to organize complexity.
  16. 16. PLAN GRAND HALL CANAL DE ORUCQ THE CENTRE FOR SCIENCE AND INDUSTRY GEODE ZENITH
  17. 17. CRITICISM <ul><li>The  People for Public Spaces  inducted his Parc de la Villette into their Hall of Shame for lacking sensitivity for its human users . </li></ul><ul><li>Parc de la Villette is often criticized as being too large being designed without consideration for the human scale and hence becomes an analytical and conceptual approach to the way a human feels within a larger urban setting. </li></ul>
  18. 18. <ul><li>While the follies are meant to exist in a deconstructive vacuum without historical relation, many have found connections between the steel structures and the previous buildings that were part of the old industrial fabric of the area. </li></ul>THE PLAN OF THE PARK CONTRASTING THE GRID OF THE CITY
  19. 19. PLAN GRAND HALL CANAL DE ORUCQ THE CENTRE FOR SCIENCE AND INDUSTRY GEODE ZENITH
  20. 20. <ul><li>The Grand Hall was built in 1867 by Jules Mérindol. </li></ul><ul><li>It is an immense building of iron and glass at the entrance to the Villette Park and provides a huge space for cultural program. </li></ul><ul><li>It was an enormous structure without showing any proportional relation to the human scale </li></ul>

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