ARCHITECTURE AND DISJUNCTION BERNARD TSCHUMI PDF

Contact Bernard Tschumi Bernard Tschumi is a well known architect, writer, and educator. He was born on January 25, in Lausanne, Switzerland. Tschumi is the son of a well known architect Jean Tschumi. Tschumi not only served as a professor at Columbia University but was also the Dean of the Graduate School of Architecture, Planning and Preservation from to After graduation, Tschumi boosted his first influential project in

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Marko Radovic Bernard Tschumi - Six Concepts Excerpt from Architecture and Disjunction CONCEPT I: Technologies of Defamiliarization In the mids small pockets of resistance began to form as architects in various parts of the world -- England, Austria, the United States, Japan for the most part, in advanced postindustrial cultures -- started to take advantage of this condition of fragmentation and superficiality and to turn it against itself.

If the new, mediated world echoed and reinforced our dismantled reality, maybe, just maybe, one should take advantage of such dismantling, celebrate fragmentation by celebrating the culture of differences, by accelerating and intensifying the loss of certainty, of center, of history. If the design of pillars reflects the conventionality of a supporting frame, maybe we might get rid of pillars altogether.

Although the architects concerned might not profess an inclination towards the exploration of new technologies, such work usually took advantage of contemporary technological developments. Interestingly, the specific technologies -- air-conditioning or the construction of lightweight structures or computer modes of calculation -- have yet to be theorized in architectural culture.

I stress this because other technological advances, such as the invention of the elevator or the nineteenth century development of steel construction, have been the subject of countless studies by historians, but very little such work exists in terms of contemporary technologies because these technologies do not necessarily produce historical forms.

This shock factor was what allowed an image to stand out: moreover, it was also characteristic of our contemporary condition, and of the dangers of life in the modern metropolis. These dangers resulted in constant anxiety about finding oneself in a world in which everything was insignificant and gratuitous.

The experience of such anxiety was an experience of defamiliarization, of un-zu-hause-sein, of unheimlichkeit, of the uncanny. In many ways, the esthetic experience, according to Benjamin, consisted of keeping defamiliarization alive, as contrasted to its opposite -- familiarization, security, geborgenheit. The general public will almost always stand behind the traditionalists. In the public eye, architecture is about comfort, about shelter, about bricks and mortar. However, for those for whom architecture in not necessarily about comfort and geborgenheit , but is also about advancing society and its development, the device of shock may be an indispensable tool.

Architecture in the megalopolis may be more about finding unfamiliar solutions to problems than about the quieting, comforting solutions of the establishment community.

Recently, we have seen important new research on cities in which the fragmentation and dislocation produced by the scaleless juxtaposition of highways, shopping centers, high-rise buildings, and small houses is seen as a positive sign of the vitality of urban culture.

As opposed to nostalgic attempts to restore an impossible continuity of streets and plazas, this research implies making an event out of urban shock, intensifying and accelerating urban experience through clash and disjunction. Let us return to the media. In our era of reproduction, we have seen how the conventional construction techniques of frame and skin corresponded to the superficiality and precariousness of media culture, and how a constant expansion of change was necessary to satisfy the often banal needs of the media.

We have also seen that to endorse this logic means that any work is interchangeable with any other, just as we accelerate the shedding of the skin of a dormitory and replace it with another. We have also seen that the shock goes against the nostalgia of permanence or authority, whether it is in culture in general or architecture in particular.

In a mediatized world, this relentless need for change is not necessarily to be understood as negative. The increase in change and superficiality also means a weakening of architecture as a form of domination, power, and authority, as it historically has been in the last six thousand years. Since the Renaissance, architectural theory has always distinguished between structure and ornament, and has set forth the hierarchy between them.

But what does this hierarchy mean today, when the structure often remains the same -- an endlessly repetitive and neutralized grid? In the majority of construction in this country today, structural practice is rigorously similar in concept: a basic frame of wood, steel, or concrete. As noted earlier, the decision whether to construct the frame from any of these materials is often left to the engineers and economists rather than to the architect.

The architect is not meant to question structure. The structure must stand firm. After all, what would happen to insurance premiums and to reputations if the building collapsed? The result is too often a refusal to question structure. The structure must be stable, otherwise the edifice collapses -- the edifice, that is, both the building and the entire edifice of thought. For in comparison to science or philosophy, architecture rarely questions its foundations.

Social critics regularly question the image, yet rarely question the apparatus, the frame. Still, for over a century, and especially in the past twenty years, we have seen the beginning of such questioning. Contemporary philosophy has touched upon this relationship between frame and image -- here the frame is seen as the structure, the armature, and the image as the ornament.

From the beginning, the polemics of deconstruction, together with much of post-structuralist thought, interested a small number of architects because it seemed to question the very principles of geborgenheit that the postmodernist mainstream was trying to promote. After all, deconstruction is anti-form, anti-hierarchy, anti-structure, the opposite of all that architecture stands for.

For one architect it had to do with dissimulation, for another, with fragmentation; for yet another, with displacement. Any interest in post-structuralist thought and deconstruction stemmed from the fact that they challenged the idea of a single unified set of images, the idea of certainty, and of course, the idea of an identifiable language. Theoretical architects -- as they were called -- wanted to confront the binary oppostions of traditional architecture: namely form versus function, or abstraction versus figuration.

Superimposition became a key device. This can be seen in my own work. In The Manhattan Transcripts or The Screenplays , the devices used in the first episodes were borrowed from film theory and the nouveau roman. In the Transcripts the distinction between structure or frame , form or space , event or function , body or movement , and fiction or narrative was systematically blurred through superimposition, collision, distortion, fragmentation, and so forth.

Much of this work benefited from the environment of the universities and the art scene -- its galleries and publications -- where the crossover among different fields allowed architects to blur the distinctions between genres, constantly questioning the discipline of architecture and its hierarchies of form. Yet if I was to examine both my own work of this time and that of my colleagues, I would say that both grew out of a critique of architecture, of the nature of architecture.

It dismantled concepts and became a remarkable conceptual tool, but it could not address the one thing that makes the work of architects ultimately different from the work of philosophers: materiality. Just as there is a logic of words or of drawings, there is a logic of materials, and they are not the same. And however much they are subverted, something ultimately resists. A word is not a concrete block. The concept of dog does not bark. Sheetrock columns that do not touch the ground are not structural, they are ornament.

Yes, fiction and narrative fascinated many architects, perhaps because, our enemies might say, we knew more about books than about buildings. Although both stemmed from early interests in linguistics and semiology, the first group saw fiction and narrative as part of the realm of metaphors, of a new architecture parlante, of form, while the second group saw fiction and scenarios as analogues for programs and function.

I would like to concentrate on that second view. Rather than manipulating the formal properties of architecture, we might look into what really happens inside buildings and cities: the function, the program, the properly historical dimension of architecture. The Columbia University Rotunda has been a library, it has been used as a banquet hall, it is often the site of university lectures; someday it could fulfill the needs for an athletic facility at the University.

What a wonderful swimming pool the Rotunda would be! Function does not follow form, form does not follow function -- or fiction for that matter -- however, they certainly interact. Diving into this great blue Rotonda pool -- a part of the shock. If shock can no longer be produced by the succession and juxtaposition of facades and lobbies, maybe it can be produced by the juxtaposition of events that take place behind these facades in these spaces.

If architecture is both concept and experience, space and use, structure and superficial image -- non-hierarchically -- then architecture should cease to separate these categories and instead merge them into unprecedented combinations of programs and spaces. Architecture was seen as the combination of spaces, events, and movements without any hierarchy or precedence among these concepts.

Hence, in works like The Manhattan Transcripts, the definition of architecture could not be form or walls, but had to be the combination of heterogeneous and incompatible terms.

Erecting a barricade function in a Paris street form is not quite equivalent to being a flaneur function in that same street form. Dining function in the Rotunda form is not quite equivalent to reading or swimming in it.

Here all hierarchical relationships between form and function cease to exist. This unlikely combination of events and spaces was charged with subversive capabilities, for it challenged both the function and the space. And we will find it in the programs of the future, where airports are simultaneously amusement arcades, athletic facilities, cinemas, and so on.

Regardless of whether they are the result of chance combinations, or are due to the pressure of ever-rising land prices, such non-causal relationships between form and function, or space and action go beyond poetic confrontations of unlikely bedfellows. Just as important is the spatialization that goes with the event. Such a concept is quite different from the project of the modern movement, which sought the affirmation of certainties in a unified utopia as opposed to our current questioning of multiple, fragmented, dislocated terrains.

Indeed, architecture finds itself in a unique situation: it is the only discipline that by definition combines concept and experience, image and use, image and structure. Philosophers can write, mathematicians can develop virtual spaces, but architects are the only ones who are the prisoners of that hybrid art, where the image hardly ever exists without a combined activity.

It is my contention that far from being a field suffering from the incapability of questioning its structures and foundations, it is the field where the greatest discoveries will take place in the next century. The very heterogeneity of the definition of architecture -- space, action, and movement -- makes it into that event, that place of shock, or that place of the invention of ourselves.

The event is the place where the rethinking and reformulation of the different elements of architecture, many of which have resulted in or added to contemporary social inequities, may lead to their solution. By definition, it is the place of the combination of differences.

This will not happen by imitating the past and eighteenth century ornaments. It also will not happen by simply commenting, through design, on the various dislocations and uncertainties of our contemporary condition. I do not believe it is possible, nor does it make sense, to design buildings that formally attempt to blur traditional structures, that is, that display forms that lie somewhere between abstraction and figuration, or between structure and ornament, or that are cut-up and dislocated for esthetic reasons.

Architecture is not an illustrative art; it does not illustrate theories. I do not believe you can design deconstruction. You cannot design a new definition of cities and their architecture.

But one may be able to design the conditions that will make it possible for this non-hierarchical, non- traditional society to happen. By understanding the nature of our contemporary circumstances and the media processes that accompany them, architects possess the possibility of constructing conditions that will create a new city and new relationships between spaces and events. Architecture is not about the conditions of design, but about the design of conditions that will dislocate the most traditional and regressive aspects of our society and simultaneously reorganize these elements in the most liberating way, where our experience becomes the experience of events organized and strategized through architecture.

Strategy is a key word in architecture today. No more masterplans, no more locating in a fixed place, but a new heterotopia. This is what our cities must strive towards and what we architects must help them to achieve by intensifying the rich collision of events and spaces.

Tokyo and New York only appear chaotic. Instead, they mark the appearance of a new urban structure, a new urbanity. Their confrontations and combinations of elements may provide us with the event, the shock, that I hope will make the architecture of our cities a turning point in culture and society. Related Papers.

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ARCHITECTURE AND DISJUNCTION BERNARD TSCHUMI PDF

Read more Read less. In The Manhattan Transcripts or The Screenplaysthe devices used in the first episodes were borrowed from film theory and the nouveau roman. Set up a giveaway. Included are a number of seminal essays that incited broad attention when they first appeared in magazines and journals, as well as more recent and topical texts.

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Bernard Tschumi

The chapter Space violating bodies establishes the basis of such a postulate. However Tschumi does not elaborate on the political implications of such a control but rather attempts to distinguish a Dionysian dimension of architecture out of it. Space Violating Bodies But if bodies violate the purity of architectural spaces, one might rightly wonder about the reverse: the violence inflicted by narrow corridors on large crowds, the symbolic or physical violence of buildings on users. A word of warning: I do not wish to resurrect recent behaviorist architectural approaches. Instead, I wish simply to underline the mere existence of a physical presence and the fact that it begins quite innocently, in an imaginary sort of way.

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