Bøger af Bernard (Bernard Tschumi Architects) Tschumi

How concept, context, and content interact in architecture; provocative examples from recent projects by Bernard Tschumi.In Event-Cities 3, Bernard Tschumi explores the complex and productive triangulation of architectural concept, context, and content. There is no architecture without a concept, an overriding idea that gives coherence and identity to a building. But there is also no architecture without context—historical, geographical, cultural—or content (what happens inside). Concept, context, and content may be in unison or purposely discordant. Against the contextualist movement of the 1980s and 1990s, which called for architecture to blend in with its surroundings, Tschumi argues that buildings may or may not conform to their settings—but that the decision should always be strategic.Through documentation of recent projects—including the new Acropolis Museum in Athens, a campus athletic center in Cincinnati, museums in Sao Paolo, New York, and Antwerp, concert halls in France, and a speculative urban project in Beijing—Tschumi examines different ways that concept, context, and content relate to each other in his work. In the new Acropolis Museum, for example, Tschumi looks at the interaction of the concept—a simple and precise museum with the clarity of ancient Greek buildings—with the context (its location at the base of the Acropolis, 800 feet from the Parthenon) and the content, which incorporates archaeological excavations on the building site into the fabric of the museum. Through provocative examples, Tschumi demonstrates that the relationship of concept, context, and content may be one of indifference, reciprocity, or conflict—all of which, he argues, are valid architectural approaches. Above all, he suggests that the activity of architecture is less about the making of forms than the investigation and materialization of concepts.

Tschumi introduces the "concept-form”: a concept generating a form, or a form generating a concept.Event-Cities 4 is the latest in the Event-Cities series from Bernard Tschumi, documenting recent built and theoretical projects in the context of his evolving views on architecture, urbanism, and design. Event-Cities C4 follows directly from the work ofEvent-Cities 3, which examined the interaction of architectural content, concept, and context. This volume takes the interaction a step further, looking at a series of projects for which program or context are insufficient as a generative conceptual strategy, hence requiring a different approach. Tschumi has said, "Over the past years, there is one word I have almost never used, except in order to attack it: 'form.'” In Event-Cities 4, Tschumi introduces the "concept-form”: a concept generating a form, or a form generating a concept, so that one reinforces the other. The concept may be programmatic, technological, or social. The form may be singular or multiple, regular or irregular. Concept-forms act as organizing devices or common denominators for the multiple dimensions of programs and their evolution over time, and drive the projects featured in this book. Highlights include master plans for a pair of media-based work spaces and cultural campuses in Singapore and Abu Dhabi; a major master plan for a financial center with 40,000 projected inhabitants in the Dominican Republic; the innovative Blue Residential Tower in New York City; a group of museums and cultural buildings in France, Abu Dhabi, Dubai, and South Korea; a pedestrian bridge in France; and a "multi-programmatic” furniture piece, the TypoLounger. The book contains more than twenty of the Tschumi firm's recent projects, showcasing the most current and forward-looking designs of one of the world's leading architectural practices.

Avant-garde theorist and architect Bernard Tschumi is equally well known for his writing and his practice. Architecture and Disjunction, which brings together Tschumi's essays from 1975 to 1990, is a lucid and provocative analysis of many of the key issues that have engaged architectural discourse over the past two decades—from deconstructive theory to recent concerns with the notions of event and program. The essays develop different themes in contemporary theory as they relate to the actual making of architecture, attempting to realign the discipline with a new world culture characterized by both discontinuity and heterogeneity. 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.Tschumi's discourse has always been considered radical and disturbing. He opposes modernist ideology and postmodern nostalgia since both impose restrictive criteria on what may be deemed "legitimate" cultural conditions. He argues for focusing on our immediate cultural situation, which is distinguished by a new postindustrial "unhomeliness" reflected in the ad hoc erection of buildings with multipurpose programs. The condition of New York and the chaos of Tokyo are thus perceived as legitimate urban forms.