Bernard Tschumi



         


Bernard Tschumi (born 1944 Lausanne, Switzerland) is a contemporary French/Swiss architect, writer, and academic; US permanent resident; 1988-2003, Dean of Columbia University Graduate School of Architecture, Preservation, and Planning.

Throughout his career as an architect, theorist, and academic, Bernard Tschumi's work has reevaluated architecture's role in the practice of personal and political freedom. Since the 1970s, Tschumi has argued that there is no fixed relationship between architectural form and the events that take place within it. The ethical and political imperatives that inform his work emphasize the establishment of a proactive architecture which non-hierarchically engages balances of power through programmatic and spatial devices. In Tschumi's theory, architecture's role is not to express an extant social structure, but to function as a tool for questioning that structure and revising it.

The experience of the May 1968 uprisings and the activities of the Situationist International oriented Tschumi's approach to design studios and seminars he taught at the Landscaping, spatial and programmatic sequences in the park were used to produce sites of alternative social practice that challenged the expected use values usually reinforced by a large urban park in Paris.

Tschumi has continued this design agenda in a variety of competitions and built projects since 1983. The 1986 Tokyo National Theater and Opera House project continued the research that Tschumi began in The Manhattan Transcripts, importing notational techniques from experimental dance and musical scores, and using the design process itself to challenge habitual ways of thinking about space, in contrast to earlier static, two dimensional representational techniques which delineated the outline of a building but not the intensity of life within it. At a local scale in his 1990 Video Pavilion at Groningen, transparent walls and tilted floors produce an intense dislocation of the subject in relation to norms like wall, interior and exterior, and horizon. At the urban scale in such projects as the 1992 Art + Media school at Fresnoy, France, and the 1995 architecture school at Marne la Vallee, France (both completed 1999,) larger spaces challenge normative program sequence and accepted use. The Fresnoy complex accomplishes this by its use of the space between the roofs of existing buildings and an added, huge umbrella roof above them which creates an interstitial zone of program on ramps and catwalks. This zone is what Tschumi calls the in-between, a negation of pure form or style that had been practiced in the 1989 ZKM Karlsruhe competition project, where a large atrium space punctuated by encapsulated circulation and smaller program episodes developed a more local network of interstitial space.

The capacity of an overlap of programs to effect a reevaluation of architecture on an urban scale had also been tested in the 1988 Kansai Airport competition, Lausanne Bridge city, and 1989 Bibliotheque de France competition. In the Bibliotheque de France, a major aspect of the proposed scheme was a large public running track and sports facility on the roof of the complex, intersecting with upper floors of the library program so that neither the sports program nor the intellectual program could exist without an impact on the other.

With these projects Tschumi opposed the methods used by architects for centuries to geometrically evaluate facade and plan composition. In this way he suggested that habitual routines of daily life could be more effectively challenged by a full spectrum of design tactics ranging from shock to subterfuge: by regulating events, a more subtle and sophisticated regime of defamiliarizations was produced than by aesthetic and symbolic systems of shock. The extreme limit-conditions of architectural program became criteria to evaluate a building's capacity to function as a device capable of social organization.

Tschumi's critical understanding of architecture remains at the core of his practice today. By arguing that there is no space without event, he designs conditions for a reinvention of living, rather than repeating established aesthetic or symbolic conditions of design. Through these means architecture becomes a frame for "constructed situations," a notion informed by the theory, city mappings and urban designs of the Situationist International.

Responding to the absence of ethical structure and the disjunction between use, form, and social values by which he characterizes the postmodern condition, Tschumi's design research encourages a wide range of narratives and ambiences to emerge and to self organize. Although his conclusion is that no essentially meaningful relationship exists between a space and the events which occur within it, Tschumi nonetheless aligns his work with Foucault's notion that social structures should be evaluated not according to an apriori notion of good or evil but for their danger to each other. In this way, Tschumi's work is ethologically motivated, in the sense that Deleuze uses the term to propose an emergent ethics that depends on a reevaluation of self/identity and body. Freedom is thus defined by the enhanced range of capacity of this extended body/self in conjunction with an extended self awareness. By advocating recombinations of program, space, and cultural narrative, Tschumi asks the user to critically reinvent him/herself as a subject.

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