Bernard Ts Chum I 1

 Bernard Tschumi is widely recognized as one
of today’s foremost architects. First known as

a theorist,
 In the 1970s he taught at the Architectural

Association school in London and during this
period he developed the ‘strategy of
disjunctions’.
 A theory based on his belief that

contemporary culture and architecture were
best expressed by fragmentation as opposed
to the classical ideal of unity.
 Bernard commonly associated with deconstructivism.
 In 1970 Tschumi has argued that there is no fixed relationship between

architectural form and the events that take place within it.
 According to him Architecture’s role is not to express an extant social

structure , but to function as a tool for questioning that structure and revise
it.
 Architecture by nature is fundamentally useless, setting it apart from

building.
A CULTURAL, SOCIAL, AND ARCHITECTURAL GENERATOR OF EVENTS,
ANIMA IS THE NEW PROJECT BY BERNARD TSCHUMI IN ITALY.
•ANIMA is the first project by architect Bernard Tschumi in Italy. Commissioned by the
Fondazione Cassa di Risparmio di Ascoli Piceno and by the Municipality of
Grottammare.
• It is meant to generate stronger ties between the people and the territory, as well as
to associate its image to the most diverse manifestations of culture in the form of a
public center.
•ANIMA, is the result of a public referendum for an acronym of the following concepts: A
for Art, N for Nature, I for Ideas, M for Music and A for Action. These are the “five souls”
of the project, which Bernard Tschumi used to generate the artifact: an identity in
constant flux. The building will be a catalyst for people’s interests, interaction and
synergy, promoted by clients who understand architecture as a process rather than a
final product.
PLAN: IT is like an ideal square with the main room at the centre.
By rotating the room Main room slightly, a sequence of four trapezoidal courts are
generated which are the places of social gathering and encounters.
 The video gallery was the first work to
deal with the concept of the
envelope. It is about the movement
of the body as it travels through the
exhibition space and about the
enclosure, which is made entirely out
of glass held by clips, including its
vertical supports and horizontal
beams.
 The resulting structure gives priority to

the image. The monitors inside
provide unstable facades, while the
glass reflections create mirages that
suggest limitless space. At night, the
space becomes an ensemble of
mirrors and reflections
 Located at the foot of the
Acropolis, the site
confronted with sensitive
archeological
excavations, the presence
of the contemporary city
and its street grid, and the
Parthenon itself.
Combined with a hot climate in an
earthquake region, these conditions
moved us to design a simple and
precise museum with the
mathematical and conceptual clarity
of ancient Greece.
unprecedented type of park
HIS THEORY in le villette
• In La Villette, the follies are reassembled insuccessive sequences and
frames similar to a cinematic promenade.
• The idea of the body is therefore established in the park in at least two
ways:
(1) as a dismembered architectural
body,
(2) as the situated body of a cinema spectator .
• The follies in La Villette act as the cinematic promenade and they create a
sequence of controlled visual fields which allude to the notion of a situated
viewer or individual body in space much like how a film uses a series of
sequential scenes to create its overall effect on a viewer.
• The viewer can still be set apart from the crowd

(and have a unique bodily experience) while still maintaining visual
connectivity (and having a global bodily experience at the same time)
 During the early 1980s, after President
Mitterand took office, Paris was undergoing
an urban redevelopment as part of city
beautification, as well as making Paris a
more tourist influenced city. In 1982-3, the
Parc de la Villette competition was
organized to redevelop the abandoned
land from the meat market and
slaughterhouses that dated back to 1860
 La Villette has become known as an
unprecedented type of park, one based on
“culture” rather than “nature.”
 Unlike other entries in the competition,

Tschumi did not design the park in a
traditional mindset where landscape and
nature are the predominant forces behind
the design [i.e. Central Park]. Rather he
envisioned Parc de la Villette as a place of
culture where natural and artificial [man-
made] are forced together into a state of
constant reconfiguration and discovery.
 A system of dispersed “points”—the red
enameled steel folies that support different
cultural and leisure activities—is
superimposed on a system of lines that
emphasizes movement through the park
 La Villette IS a discontinuous building but a

single structure nevertheless, overlapping
the site’s existing features and articulating
new activities
 It opposes the landscape notion of

Olmstead, widespread during the 19th
century, that “in the park, the city is not
supposed to exist.”
 Instead, it proposes a social and cultural

park with activities that include workshops,
gymnasium and bath facilities,
playgrounds, exhibitions, concerts, science
experiments, games and competitions
He designed a number of small experimental
constructions that he called ‘follies’, playing on
the double meaning of the French word folie as a
state of mental imbalance into the pavilion.
 Programmatic and spatial
transformations are the basis of the
intervention. Instead of adopting the
conservative strategy of concentrating
only on the lower level of the valley, the
project takes advantage of Lausanne's
existing bridge typologies by radically
extending them
Along the valley's north-south axis, the
inhabited bridge-cities use
the program to link two parts of the city
that conflict in both scale and
character.
The concept of the

urban generator not only creates
the possibility of new spatial links
within the existing city, but also
encourages
unpredictable programmatic
factors or new urban events, that will
inevitably appear in coming
decades
Each bridge accommodates two
categories of use: in the core
element, public or commercial use,
and at the deck level, pedestrian
traffic and related uses

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 Bernard Tschumi is widely recognized as one

of today’s foremost architects. First known as

 In the 1970s he taught at the Architectural

 A theory based on his belief that

 In 1970 Tschumi has argued that there is no fixed relationship between

 According to him Architecture’s role is not to express an extant social

 Architecture by nature is fundamentally useless, setting it apart from

 The resulting structure gives priority to

• The viewer can still be set apart from the crowd

 Unlike other entries in the competition,

 La Villette IS a discontinuous building but a

 It opposes the landscape notion of

 Instead, it proposes a social and cultural

The concept of the

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