1. Bernard Tschumi
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.
Tschumi often references other disciplines in his
work, such as literature and film, proving that
architecture must participate in culture’s
polemics and question its foundations.

2. Parc de la Villette- 1982-1998
• 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.

3. •The Park’s layout is structured around a triple
system of POINTS, LINES AND SURFACES.
•The park was divided using a rectangular grid
consisting of lines placed at intervals of 120
meters. On top of this grid a series of points, lines
and surfaces were superimposed to create the
form that exists today.
•The main idea was allocation of space and form
on the site. These were based on Tschumi’s use
‘programmatic deconstruction’ which involved
the dismantling of the conventional ideas of
architecture.
Dia1 -shows a simple representation of the distribution
of space on the site showing a proportion of ‘building’
to a proportion of ‘covered area’ to a proportion of
‘open space’.
Dia 2- these three parts undergo a process that
Tschumi calls ‘explosion’, ‘fragmentation’, and
‘deconstruction’
Dia 3- is a ‘re-composition’ of the elements
The re-composition of the three elements takes place
ultimately on the coordinate points of a grid in varying
combinations of building, covered space and open
space.

4. The lines of the park are composed of two major
perpendicular axes running parallel to the
orthogonal grid. These form the major walkways
throughout the park and consist mostly of steel,
and iron. The lines give the park a strong linear
focus.
A curved walkway threads its way through the
park, intersecting the linear walks at various
points.
THEORY: This idea of cutting and re-forming is
very closely related to Guattari and Deleuze’s
‘rhizome’ theory, where they state that the
rhizome is itself a non-linear form, and it’s
superiority lies in its ability to reconnect to any
one of its new lines even though it may become
shattered or broken.

5. •. The next element of form in Tschumi’s design
comes by way of the points (or 26 red follies),
which are based upon deconstructed cubes
placed 120 meters apart from one
another in a grid pattern
•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.
• The next formal element within the park are the
geometric surfaces. Some of the surfaces are
constructed of compacted earth and gravel and are
more free and varied in form, while others are made
from metal and concrete.

6. •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, and (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)
HIS THEORY

7. •Finally, and connected to the cinematic promenade, time also plays an important role in
Tschumi’s connection to the body and its effect on the viewer. Through time, Tschumi
attempts at capturing the temporary and spontaneous nature of “events’ which can take
place within the park .In La Villette, bodies in space have the ability to wander from any path
and create a unique and un-programmed ‘event’. By allowing for this ability to spontaneously
create an ‘event’, La Villette is much like the cinema.
•Spatially and sequentially, the architectural fragmentation of the structure allow and capture
the ‘possible’ and the ‘accidental’ within the park and therefore create newfound ‘bodies’
from which to view Tschumi’s ‘events’ oering new experiences within the park.

8. 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.

9. 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.

10. Glass video gallery-1990
• 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.

11. Glass video gallery
• 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

12. Bridge City Lausanne, 1988
• 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

13. Bridge city-1988
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
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.

14. Bridge city
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

15. Acropolis museum-2001-2009
• 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.

16. Acropolis museum
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.

17. Acropolis museum- Plans

18. Acropolis museum-section and
views