Available in: Paperback. Avant-garde theorist and architect Bernard Tschumi is equally well known for his writing and his practice. Architecture. In “Architecture and Disjunction,” a collection of essays, Bernard Tschumi, the dean of the Graduate School of Architecture, Planning and. For Bernard Tschumi, there is no architecture “without event, without activity, without way to the dynamic; finally, the one of synthesis is replaced by disjunction.

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For one architect it had to do with dissimulation, for another, with fragmentation; for yet another, with displacement. Remember me on this computer. 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.

I do not believe you can design deconstruction. Tschmi result is too often a refusal to question structure. After all, deconstruction is anti-form, anti-hierarchy, anti-structure, the opposite of all that architecture stands for. Caufield rated it really liked it Jun 15, And however much they are subverted, something ultimately resists.

The Columbia University Rotunda has been a library, it has been used as a banquet hall, it is often tschkmi site of university lectures; someday it could fulfill the needs for an athletic facility at the University.

Tschumi’s discourse has always been considered radical and disturbing. Such confrontation parallels the Surrealists’ meeting of a sewing machine and an umbrella on a dissecting table, or closer to us, Rem Koolhaas’s description of the Downtown Athletic Club: But what does this hierarchy mean today, when the structure often remains the same — an endlessly repetitive and neutralized grid?

As years went by, the multiple interpretations that multiple architects gave to deconstruction became more multiple than deconstruction’s theory of multiple readings could ever have hoped. The architect is not meant to question structure.

Architecture and Disjunction – Bernard Tschumi – Google Books

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 architectuge, and small houses is seen as a positive sign of the vitality archiyecture urban culture.


This shock factor was what allowed an image to stand out: The general public will almost always stand behind the traditionalists. 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.

He opposes modernist ideology and postmodern nostalgia since both impose restrictive criteria on what may be deemed “legitimate” cultural conditions.

Carolina Cancerinadewi rated it it was amazing Feb 27, After all, what would happen to insurance premiums and to tshumi if the building collapsed? Jacques Derrida’s Parergon turns such questioning between frame and image into a theme.

Architecture and Disjunction

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.

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.

Touhidul Islam Moulik rated it liked it Nov 10, Enter the email address you signed up with and we’ll email you a reset link.

Just a moment while we sign you in to your Goodreads account. The Turning Point My own work in the s constantly reiterated that there was no architecture without event, no architecture without action, without activities, diskunction functions.

Bernard Tschumi

Sheetrock columns tschu,i do not touch the ground are not structural, they are ornament. Indeed, architecture finds itself in a unique situation: He was dean of the Columbia Graduate School of Architecture from to Calling for more inclusion of the irrational, Tschumi discusses the sensual aspects of space through sexual analogy: The Moment of Complexity: Since the Renaissance, architectural theory has always distinguished between structure and ornament, and has set forth the hierarchy between them.

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.


architectufe This unlikely combination of events and spaces was charged with subversive capabilities, for it challenged both the function and the space.

Nov 12, Carolyn rated it it was amazing. 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. My notes from college about the essay say things like “eroticism is pleasure of excess, not excess of disjunchion, and architectural eroticism is a more subtle concept than saying skyscrapers are phallic.

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: Good book, a little dated, but interesting with important projects. 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.

No more masterplans, no more locating in a fixed place, but a new heterotopia. Tschumi’s discourse has always been considered radical and disturbing. Tschumi has gathered all of the pristine and untouchable facets of a traditional architectural form and theory, turning his piercing and intense beam of light upon their crystalline surfaces until they shatter.

This will not happen by imitating the past and eighteenth century ornaments.