Podcast appearances and mentions of bernard tschumi

For the first episode of A is for Architecture's 2025 offer, I was very lucky to be joined by the great architect, writer, theorist and educator, Bernard Tschumi.  We discuss, among other things, his most recent book, Event-Cities 5: Poetics (MIT Press 2024). Globally celebrated for his innovative contributions to contemporary architecture and urbanism, Professor Tschumi has gained international acclaim through both his theoretical works, like The Manhattan Transcripts (1976-1981) and Architecture and Disjunction (1994), as well as iconic projects like the Parc de la Villette in Paris (1982-1998). Tschumi's designs challenge traditional notions of form and function, emphasizing the dynamic interplay between space, movement, and event. A former Dean of the GSAPP at Columbia University, he has authored several influential books, including the Event-Cities series (1994-2024), cementing his status as a leading voice in architectural thought. This was a really special recording for me, and a bit of a dream really. Bernard Tschumi! Unreal. Tschumi Architects can be found here are on Instagram here. The book is linked above. +  Music credits: ⁠Bruno Gillick

Lʹarchitecte lausannois Bernard Tschumi obtient le Grand Prix de lʹAcadémie Française des Beaux-Arts. Paul Mac Cartney devient une pièce de monnaie. LʹOulipo perd son poète et mathématicien Jacques Roubaud qui rejoint son Alix Cléo.

Léon Marchand est retourné s'entraîner en Arizona, Teddy Riner a rejoint les rangs des manifestants martiniquais, Léa Salamé a retrouvé les studios de France Télévisions… les JO sont bien derrière nous, ça y est : Tsugi Radio réintègre aujourd'hui même son studio historique, dans la Folie L1 à l'entrée Nord du Parc de la Villette. Beaucoup de plaisir de retrouver l'architecture de Bernard Tschumi alors que depuis notre départ, la Villette a une nouvelle présidente en la personne de la chorégraphe franco-espagnole, Blanca Li, qui viendra prochainement dans ce studio nous présenter sa vision pour le Parc et la Grande Halle. Nos DJs avaient dû patienter quelques jours et voilà que c'est La Mverte qui rouvrira tout à l'heure à 19h le bal des résidences… Place des Fêtes retourne donc dans ses pénates et aujourd'hui, c'est à un festival pas comme les autres qu'on va ouvrir nos micros. Un festival qui, bien avant que la parité ne devienne un enjeu dans la musique, est né du constat qu'on ne voyait pas assez de femmes sur scène. Les Femmes s'en mêlent, un festival indépendant, un festival militant, qui se bat pour exister depuis 25 ans. Aujourd'hui dans Place des Fêtes, je reçois son visionnaire fondateur et programmateur, Stéphane Amiel, ainsi que le groupe lyonnais, Akira & le Sabbat. Les 25 ans des Femmes s'en mêlent c'est jusqu'au 1er décembre à Paris, en banlieue et un petit peu partout en France et ça a démarré le 23 octobre par un concert événement à l'Élysée-Montmartre, le retour de Kim Gordon.

Aujourd'hui, la star c'est la Folie L1. Cette petite boîte rouge à l'entrée Nord du Parc de la Villette née de l'esprit de l'architecte Bernard Tschumi. L'histoire de notre webradio ne serait sans doute pas la même si nous n'avions pas pu laisser la lumière allumée pendant les longs mois de la crise sanitaire et d'une culture qu'on disait non-essentielle. Grâce à la motivation sans faille de toute l'équipe de Tsugi, à la confiance de Didier Fusillier et des équipes de La Villette et surtout à tous les artistes, DJs, producteurs et productrices, chanteurs et chanteuses qui sont venus ici parler de leur musique, de celle des autres, faire de la musique. Il s'en est passé des choses depuis septembre 2019 dans le studio de Tsugi Radio : des heures de mixes, des questions trop longues, des fous rires, des larmes, des fêtes. Alors que jeudi 23 mai nous allons rendre – provisoirement – les clés pour laisser la place à des athlètes de toute la planète, j'ai plein d'images qui me viennent en tête. Des apéros Tsugi endiablés avec l'ami Nico Prat, Sheila dansant derrière le DJ booth, Zaho de Sagazan assise derrière son petit piano électrique, bien avant de chanter Bowie pour une Greta Gerwig en larmes sur la scène du Palais des Festivals à Cannes. Je me souviens aussi des petits dejs et des chamailleries d'une Verseau et d'un Poisson qui accueillaient tous les vendredis matins des artistes de tous les horizons dans Club Croissant. C'est la fin, la dernière Folie L1. Le dernier jour du studio. Mais pas le dernier jour de Tsugi Radio ! On continue tout l'été dans les festivals, à la Gaîté Lyrique, et puis on reviendra ici, au mois de novembre. C'est tout de même la fin d'un chapitre pour Tsugi Radio, et aussi pour le Parc de la Villette, qui accueille une nouvelle présidente avec la chorégraphe Blanca Li. Alors ce soir pour célébrer 5 folles saisons de Tsugi Radio à la Folie L1, la porte est ouverte et on fait la fête ! Au programme de cette Place des Fêtes : ça part en fav', le rendez-vous de Jean Fromageau, une voix que vous connaissez bien et qui a beaucoup contribué au succès de Tsugi Radio. Pour sa dernière chronique de la saison, Antoine Gailhanou qui décrypte avec passion la musique des jeux vidéos tous les mois et qui est aussi un collaborateur régulier des pages de Tsugi. Je le dis souvent, Tsugi Radio ne serait rien sans ses amis. L'invité du jour a été résident Tsugi Radio. En 2019, il s'appellait Akzidance et dans son émission Jdig! il accueillait tous ces passionnés, plus ou moins anonymes qui passent leur week-ends dans les brocantes et chez les disquaires pour compléter leur collection de trouvailles incroyables. Et puis un jour, il m'a envoyé un lien avec ses chansons, me faisant découvrir son nouveau projet, Since Charles. De la pop électronique et sensible en français. Since Charles a déjà joué en live ici, demain il sera sur la scène du Pop Up dans le 12ème à Paris et j'avais envie de l'accueillir à nouveau alors que son dernier EP Portamento Vol. 2 est sorti début avril.

Vous le savez, Tsugi Radio émet depuis notre studio du Parc de la Villette au cœur d'une des nombreuses folies imaginées par l'architecte Bernard Tschumi qui a transformé ces anciens abattoirs en parc à vocation populaire et culturelle. Pas loin de nous l'ancienne maison des vétérinaires baptisée Pavillon Villette qui reçoit créations, résidences et soirées, les copains d'à la folie un des hauts-lieux de la scène queer parisienne. Juste à côté, l'immense paquebot de la Cité des Sciences et de l'Industrie fréquentée par les familles pour des expos qui passionnent petits et grands. Au bout de la Cité des Sciences, on trouvait le centre commercial Vill'Up équipé d'un cinéma et d'attraction iFly pour les amateurs de chute libre. Cet endroit qui avait eu du mal à trouver son public et qui a périclité pendant le COVID s'offre une nouvelle vie grâce à Boom Boom Villette. Un espace de jeux, de culture, de fête et de gastronomie qui fait le plein depuis son ouverture fin janvier. On parle de cette aventure aujourd'hui dans Place des Fêtes, avec son directeur, Victor Jouan. Mais vous êtes là aussi pour un peu de musique et de nouveauté : alors aujourd'hui au programme les belles voix de Treanne et Victor Solf, Logic1000 décidée à nous faire danser, Jean Fromageau et son favori du jour, mais pour commencer deux surdoués de la pop hexagonale, Flavien Berger et tout de suite Lewis OfMan. LEWIS OFMAN "Get Fly (I Wanna)" FLAVIEN BERGER "beta" TREANNE "Please" MANOFRESCA "Home feat. Victor Solf" KIDDY SMILE "Be Honest feat. Yuksek" ÇA PART EN FAV' : LATER. "Cold Touch" LOGIC1000 "Promises (VIP)"

In Episode 16 of Season 2 of A is for Architecture, I speak with Gevork Hartoonian, Professor of the History and Theory of Architecture at the University of Canberra, Australia, about his 2012 book, Architecture and Spectacle: A Critique, published by Routledge. The issue of the architectural spectacle has perhaps been the dominant idea in urban and architectural thinking for the last two or three decades, most explicitly seen in Frank Gehry's Guggenheim Museum at Bilbao, a model of design that has been replicated globally since that building's opening, but permeating design education and practice almost everywhere, in the near universal pursuit of spectacular solutions to the postmodern urban condition. Gevork's book discusses this phenomenon, ‘[f]ocusing on six leading contemporary architects: Peter Eisenman, Frank Gehry, Bernard Tschumi, Zaha Hadid, Rem Koolhaas and Steven Holl' and putting forward ‘a unique and insightful analysis of "neo-avant-garde" architecture [and] discusses the spectacle and excess which permeates contemporary architecture in reference to the present aesthetic tendency for image making, but [also] by applying the tectonic of theatricality discussed by the 19th-century German architect Gottfried Semper. In doing so, it breaks new ground by opening up a dialogue between the study of the past and the design of the present.' Gevork's professional profile is linked above, he's on LinkedIn here too, and his Instagram can be found here. There's a great wee critique by Gevork on Zaha Hadid on The Charnel House here. There's a serious academic piece by Gevork in the Journal of Architecture (v7/ 2 2002), on the merits of Gehry too: Frank Gehry: roofing, wrapping, and wrapping the roof. Happy listening! + + + + + + + + + + + + + + + Music credits: Bruno Gillick + + + + + + + + + + + + + + + aisforarchitecture.org Apple: podcasts.apple.com Spotify: open.spotify.com Google: podcasts.google.com Amazon: music.amazon.co.uk

What you'll learn in this episode: Why sacred geometry is the underlying link between Eva's work in jewelry, architecture and design How growing up in an isolated Soviet Bloc country influenced Eva's creative expression Why jewelry is one of the most communicative art forms How Eva evaluates jewelry as a frequent jewelry show judge Why good design should help people discover new ideas and apply them in other places  About Eva Eisler A star of the Prague art world, Eva Eisler is an internationally recognized sculptor, furniture/product designer, and jeweler. Rooted in constructivist theory, her structurally-based objects project a unique spirituality by nature of their investment with “sacred geometry.” The current series of necklaces and brooches, fabricated from stainless steel, are exemplars of this aesthetic. In 2003, she developed a line of sleek, stainless steel tabletop objects for mono cimetric design in Germany.  Eisler is also a respected curator and educator. She is chairman of the Metal and Jewelry Department at the Academy of Arts, Architecture and Design in Prague, where she heads the award-winning K.O.V. (concept-object-meaning) studio. Her work is in the collections of the Metropolitan Museum of Art, Brooklyn Museum and Cooper-Hewitt, Smithsonian Design Museum in New York; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; Renwick Gallery, Smithsonian American Art Museum, Washington, D.C.; Montreal Museum of Fine Arts in Canada; Pinakothek der Moderne, Munich; and Museum of Decorative Arts, Prague, among others.  Additional Resources: Eva's Instagram Photos available on TheJeweleryJourney.com Transcript: Eva Eisler is the rare designer who works on projects as small as a ring and as large as a building. What connects her impressive portfolio of work? An interest in sacred geometry and a desire to discover new ideas that can be applied in multiple ways. She joined the Jewelry Journey Podcast to talk about how she communicates a message through jewelry; why jewelry students should avoid learning traditional techniques too early; and her thoughts on good design. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. My guest today is Eva Eisler, Head of the Jewelry Department of the Academy of Arts in Prague. She's probably one of the most well-known artists in the Czech Republic. Welcome back.    How long were you in New York? A long time?   Eva: 25 years.    Sharon: Wow! I didn't realize that. And did you teach the whole time?   Eva: I taught for a few years at Parsons School of Design, and then New York University pulled me in. It was Judith Schwartz, who was the Director of the Department of Art Education, who wanted to expose the students to metalworking. So, she asked me to come and teach there.   Sharon: Did you do jewelry and other things because you wanted to have not so much grayness in the world, to have color, to have joy?   Eva: Are you asking?   Sharon: Yeah, I'm asking. Did you break out, in a sense, because of the world around you?   Eva: I think that one challenge after the other gave me strength and conviction. This is something I can work with, the medium of jewelry, because it's so communicative. I had so many incredible encounters through wearing a piece of jewelry. For example, I went to a party at Princeton University. I'm talking to this professor of physics. He's telling me how they are developing an artificial sun, and he's looking at my piece. When he finished talking about his project, he said, “Is this what I think it is?” I said, “Clearly, yes.” It was a piece of metal bent into an S, one line and one dot. It's basically telling you that it depends on a point of view and how you perceive things. I used to like to come up with a concept that I would play with in different theories.    Sharon: Did you expect to be in the States for 25 years? That's a long time.   Eva: No. We were allowed by Czechoslovakia to go for one year. After one year, we politely applied for an extension. It was denied to us. So, we were actually abroad illegally and we could not return because we did not obey the rules.    Sharon: When you came back, did you teach? We saw some of your students' work. What do you tell them about your work? What do you teach them?    Eva: It's a different system. In New York, you teach one class at a time if you're not a full-time professor at the university. In New York, it's very rare. The intensity and the high quality of professionals in all different fields allows schools to pull them in, so they can take a little bit of their time and share with students what they do. It's not that you devote your full time to teaching.    In the Czech Republic, it's different. At the academy where I have taught for 16 years, you're the professor, and you have a student for six years with a special degree in the master's program. For six years, you're developing the minds of these young people. I don't teach them techniques. We have a workshop and there is a workshop master. I talk to them about their ideas. We consult twice a week for six years. It's a long time. I would be happy if somebody talked about my work for half an hour once a year. I would have to ask somebody because I need it as well. It's a different system, the European system of schools.   Sharon: You're head of the K.O.V. Studio. How would you translate that?   Eva: The academy is divided into departments, and each department is a different media: Department of Architecture, Department of Industrial Design and so on. We are part of the Department of Applied Arts, which is divided between ceramics, glass, textile, fashion. My studio is about metal, and for metal in Czech, you write “kov.” When I took over the studio, I put dots in between the letters, which stands for “concept, object, meaning.” In Czech, meaning isn't even a word. That way, I could escape the strict specialization for metal, because when you're 20 and you go study somewhere, do you know you want to work for the rest of your life in metal? No. Today, we are also exploring different materials, discovering new materials. I am giving them assignments and tasks. Each of them has to choose the right material, so the person comes up with using concrete or cork or wood or paper or different things, glass or metal.   Sharon: How do you balance everything? You have so much going on. How do you balance it?    Eva: I have to do three jobs because teaching does not make a living, even though I'm a full-time professor. It's an underpaid profession, maybe everywhere.   Sharon: I was going to say that, everywhere.   Eva: Then I do my own art, and I do large projects like designing exhibitions, curating exhibitions, designing a design shop. Things like that to make money to support those other two. It's a lot, yes. I have grandchildren.   Sharon: A family. Yes, it's a lot. You've done jewelry shows and you've evaluated shows. What's important to you? What stands out? What jumps out at you?   Eva: I sit on juries. In 2015, I was invited to be a curator of Schmuck, the jewelry exhibition in Munich. It's a big challenge, selecting out of 600 applicants for a show that at the end has only 60 people from all over the world. When I looked at the work, we flipped through pictures one after the other. It's so incredible what jewelry has evolved into, this completely open, free thing, many different styles, many different trends and materials. There's organic and geometric and plastic. I noticed these different groups and that I could divide all these people into different groups, different styles, different materials. Then I was selecting the best representation of these groups. It made it quite clear and fast when I came up with this approach.   Sharon: Does something jump out at you, though, when you're looking through all these—let's say you've divided all the glass, all the metal—   Eva: Very rarely, because we go to Munich every year. I go and see exhibitions all over, so it's very random. You can see something completely different and new. I worked on a very interesting exhibition that year at the Prague Castle. Cartier does not have a building for their collection, a museum. They have the collection traveling around in palaces and castles and exhibition galleries around the world, and each place has a different curator. I was invited to curate it in Prague. It was the largest Cartier exhibition ever displayed. It was around 60 pieces for this show, and it was in Bridging Hall of the Prague Castle, an enormous space.    That was very interesting because at the moment I accepted this challenging job, I had never walked into a Cartier anywhere in the world, in New York, Paris, London, because I was never curious. It was real jewelry, but when I started working with the collection, which is based in Geneva, and I was going to Paris to these workshops and archives, I discovered the completely different world of making jewelry, how they, in the middle of the 19th century, approached this medium and based it on perfection and mechanisms and the material. So, the best of the best craftsmen were put together in one place. It was very challenging.   Another exhibit I worked on was for a craft museum. It was called The Radiant Geometries. Russell Newman was the curator, and I was doing the display faces. My work was part of the show as well. That was a super experience.    An interesting show I had was at Columbia University at the School of Architecture. The dean was Bernard Tschumi, the deconstructivist architect. He invited me to do an exhibition of jewelry and drawings for their students of architecture. Can you imagine? The students looked at the work, and they thought they were small architecture models. I developed a new system for how to hold them together. For that exhibition, I built cabinets that I later developed into a system with vitrines. After the exhibition with vitrines, I started making chairs and tables and benches, and later on I used it again for an exhibition when I was in Brussels. One thing leads me to another. One thing inspires the other. I go from flats, from drawings and paintings, into three-dimensional objects. I need a lance, so I design it and then some company makes it.   Sharon: Wow! What do you think has kept your attention? We'll have pictures of the jewelry on the website so people can see it. I love the necklace you have on. It's avant garde. Everything in the exhibit and everything your students did was avant garde. So, what holds your attention about it? How would you describe it?   Eva: I think making something like many people did before you doesn't make any sense. We are surrounded by so much stuff. It only makes it worth spending your talent and time when it's something new. You're discovering something new that somebody else can learn from and apply somewhere else. For example, this necklace is just held by the tension of the spring wire. Next time, maybe I can use it for some lighting. Who knows?   Sharon: I'd like to see that if you do it. What makes a good exhibit? You've been in charge of so many exhibits. What makes a good jewelry exhibit?   Eva: It should be based on a common theme or concept, and all the objects should together tell a story. Also, the exhibition design or architectural design of the show is very important. A lot of exhibition architects are creating something so powerful that you can't see the work that is showing. My rule is that the installation basically should disappear. The work is the most important thing, right?   Sharon: Yes, that's true. You mentioned a story, like each area or part should tell a story. Would you agree with that?   Eva: If it's large exhibition of jewelry in different styles, let's say, it should be grouped into similar topics so it empowers them. If you have one piece of this kind, another piece of a different kind next to each other, then—I don't know; it can be anything. It depends on the curator or the architect. Look at the Danner Rotunda in Munich. Their collection is strung together. Maybe the curator or the artist who did the installation wanted to create a dialogue of completely different characters, like when you have guests for dinner and you're thinking who sits next to whom. You want to create an exciting dialogue.   Sharon: When you came to New York, do you think you stood out? In Czechoslovakia did you stand out? Could you hold your own within these different parties?   Eva: I'm not the one who can judge it, but yes. I heard from different people what caught their attention, and why, for example, Judy Schwartz said, “I was waiting patiently all these years,” whenever she finds the time to teach at NYU. I was always amazed by her education. Toni Greenbaum wrote a beautiful piece when we first met. She was intrigued by what I wore and how I looked, but mostly by a piece of jewelry I wore. I sewed the dress a day before because I thought, “What am I going to wear?” I designed it myself. If somebody asks me what I collect—mostly everybody collects something—I usually say I collect people. People together create society, create culture. One cannot stand alone. Through the work I do, it brings me to people. I try, and the results bring me to better people. That's what I value most.   Sharon: That's interesting. That was going to be my next question, but you answered it. Everybody does collect something, and people have different definitions of collections. Collecting people is a collection, yes, and you collect people all over the world. Thank you so much for being with us today, Eva. I really appreciate it.   Eva: Thank you so much for inviting me and talking to me. I'm saying hello to everyone who is listening.   Sharon: Well will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.  

The first time I heard the word “folly” was in relation to Bernard Tschumi's Parc de la Villette in Paris – the large park with dozens of red structures strategically organized in a grid – each embodying the principles of deconstruction. I had been fascinated with the relevance and functionality of follies and even more amused by the lack of its typology. On graduation from Oxford, Rory Fraser wrote and illustrated his first book Follies: An Architectural Journey, which he then presented as a documentary. Rory subsequently completed an MPhil in Architectural History at Cambridge. He lives in London where he divides his time between writing, lecturing and painting architectural commissions. Link to the series: https://watch.shelter.stream/follies Rory's work: https://www.instagram.com/roryfraserr/

Corrente architettonica che è caratterizzata da forme che rompono le tradizione di una architettura razionalista. L'inizio si può considerare nel 1988 con la mosta “Deconstructivist Architecture” a New York quando furono esposti progetti di Frank O. Gehry, Daniel Libeskind, Rem Koolhaas, Peter Eisenman, Zaha Hadid, Bernard Tschumi e del gruppo Coop Himmelb(l)au.

"Soyons sérieux ! Quelle architecture peut prétendre produire de la jouissance, quand celle-ci trouve sa raison d'être dans la transgression de toutes les règles. Elle apparait à travers les obsessions pornographiques qui contaminent les projets dessinés de Jean-Jacques Lequeue alors que ses confrères les exilent en marge de leurs plans. Des provocations qui anticipent l'architecture molle et poilue invoquée par Salvador Dali pour prendre la relève de l'architecture orthogonale et protestante de Le Corbusier. Un refus de l'angle droit dans lequel s'engouffrerons, autour des années 68, les Häusermann, Chanéac, Kalouguine, Antti Lovag avec leurs coques sensuelles de béton projeté comme leurs émules d'aujourd'hui. Mais aussi dans les dispositifs cherchant à provoquer de la disjonction, de la disruption comme le promettait le Parc de la Villette de Bernard Tschumi à l'aube des années 80. Ou encore dans les surfaces lisses et carroyées, dessinées par Superstudio, pour offrir des espaces non-coercitifs strictement ouverts à tous les possibles..." Richard Scoffier, architecte, philosophe, professeur des Écoles Nationales Supérieures d'architecture

Stephanie Chaltiel is a French architect and interior designer working with innovative techniques and natural materials offering unique designs for each project. She began her career in Mexico and French Guyana building by hand with local dwellers houses. After working for Bernard Tschumi in New York, OMA and Zaha Hadid she started her own practice. Her award winning projects marrying cutting edge technology and raw materials (ACADIA, MIT 2017, part of the ICON Design 100 talents 2019 and Dezeen Awards Winners Highly commended mention) has been presented and exhibited worldwide. She taught at SUTD Singapore, Westminster London, AA London, Ravensbourne London, and at the architectural school of Brighton and more recently at Elisava Barcelona. She was also during 4 years an EU Marie Curie scholarship recipient when she developed the drone spray technology for sustainable architecture and refurbishments. --- Send in a voice message: https://anchor.fm/mediterranean-sustainable/message

"Comme le rappelle Peter Sloterdijk, le petit d'homme naît avant terme contrairement à la progéniture de la plupart des autres animaux. Il doit impérativement être éduqué pour espérer parvenir à maturité, et apprendre les gestes nécessaires à sa survie comme à celle de son espèce. Ainsi des bras de la mère et des autres membres de la communauté, puis les prothèses architecturales – écoles, collèges, lycées, universités – doivent lui permettre de se constituer comme un sujet libre et souverain dans un monde en perpétuelle évolution. Nous passerons rapidement sur les différents types de lieux d'enseignement pour nous attarder sur ceux qui forment les architectes. Ainsi à Rio de Janeiro l'école d'architecture de Jorge Machado Moreira (1957) se définit-elle comme un palais pour futurs héros de la modernité, tandis qu'à São Paulo celle de Villanova Artigas (1961) s'affirme comme un gigantesque plafond à caissons lancé au-dessus d'un immense espace de travail. Des exemples qui nous permettrons de mieux saisir les enjeux portés par les établissements d'aujourd'hui que ce soit celui de Fréderic Borel à Paris, de Bernard Tschumi à Marne-la-Vallée, de Lacaton & Vassal à Nantes ou de l'Institut méditerranéen de la ville et des territoires que la jeune agence NP2F doit réaliser à Marseille." Richard Scoffier, mai 2020

در اپیزود سوم از بخش #سیناپسیس از رادیو آویژ، مقاله‌ی "The Architectural Paradox" نوشته‌ی Bernard Tschumi رو مرور میکنیم.#رادیوآویژ #سیناپسیس #پادکست_معماری #پادکست_فارسی#avizhradio #synopsis #architecture #Architectural_paradox #Bernard_Tschumi

Le mouvement moderne était hanté par l'idée de montage, de mécanisme, comme en témoignent les "Machines à habiter" de Le Corbusier. Notre époque, celle qui a vécu le 11 septembre, est plus fascinée par la destruction. Pour l'homme ou la femme d'aujourd'hui, les choses sont souvent intéressantes parce qu'elles se présentent comme des objets brisés, cassés. Des objets humiliés qui renoncent à s'affirmer comme beaux pour mieux porter insidieusement en eux la promesse de la beauté. Ce cours peut être considéré comme une introduction à l'oeuvre de Christian de Portzamparc dont la plupart des réalisations se composent d'accumulations d'objets disloqués capables de susciter de nouveaux imaginaires urbains. Fragmentation et dislocation permettent aussi d'aborder le travail de Bernard Tschumi. Le Fragment est le premier acte de l'Université Populaire de 2012 consacrée à l'avenir de l'architecture. Cette Université revient sur 4 des nombreux principes esthétiques qui semblent gouverner la production architecturale. Quatre principes qui ne convergent pas -comme les cinq points de Le Corbusier- mais mènent bien "vers une architecture".  Les cours sont animés par Richard Scoffier, architecte, philosophe et professeur des Écoles nationales Supérieures d'architecture.

Coffee Sketch Podcast is our take on the intersection of old tech and new tech. The space between the traditional practice of the hand-drawn sketch that has been performed by architects and designers for centuries AND the modern day use of the #hashtag as a representation of sentiment or a movement! Each week will plan to deliver a new pod about our ideas, sketches, and what’s going in our daily lives as we pursue our love of architecture, design, and sharing this knowledge with the next generation. Podcast 009 Sketches from February 8 - February 15, 2019 Theme: The Art in ArchitectureTell our listeners about found objects and sketching #foundobject Where might this building be?Bernard Tschumi’s Park La Villette the greatest folly of architecture Folly meaning small scale architecture (art) testsThank you for listening we both hope that you enjoyed this episode of Coffee Sketch Podcast. Our Theme music is provided by my brother who goes by @c_0ldfashioned on Instagram. Our podcast is hosted at coffeesketchpodcast.com where you can find more show notes and information from this episode. And finally, if you like what you heard please rate us on iTunes and share us with your friends! Thank you!Sketch 1 - Found ObjectSketch 2 - La Villette

Catch up with out event exploring architectural fictions and allegories. From the surrealist references in early OMA Manhattan drawings, to Bernard Tschumi’s 'Advertisements for Architecture' and the science fiction landscapes in the work of Lebbeus Woods, architects have used this approach to reveal the contradictory nature of the world and to question reality itself. This event brought together different practitioners whose work is imbued with poetry, art and symbolic meaning. This event was inspired by the fictional landscapes in our Dalí / Duchamp exhibition. Speakers: Sam Jacob – architect, columnist, design critic; principal of Sam Jacob Studio Neil Spiller – founding Director of the AVATAR Group; the Hawksmoor Chair of Architecture and Landscape and Deputy Pro Vice-Chancellor of the University of Greenwich, London; author of Surrealism and Architecture – A Blistering Romance Peter Wilson – architect; co-founder and director of Bolles+Wilson Niall Hobhouse – art collector, writer, trustee of Drawing Matter

Que muchos arquitectos y arquitectas se están marchando de España es algo de sobra conocido. Personalmente suelo rehuir los debates al respecto por varios motivos, entre otros porque la mayoría me resultan estériles. En realidad tampoco es algo nuevo ya que ha sucedido en otras ocasiones, tras la guerra civil por ejemplo. Como muestra, en este episodio comentamos la historia de tres arquitectos españoles en el extranjero: Rafael Guastavino, Josep Lluis Sert y Félix Candela. Y hacia el final un par de comentarios de los oyentes. Uno que surge a raíz del episodio 24 sobre arquitectura directamente inspirada en obras literarias, y el otra una fe de erratas a propósito de un gazapo que incluimos en el episodio anterior al hablar del Previ de Lima. Ayúdanos a seguir creciendo invitando a tus amigos y amigas a escuchar algún episodio, y si eres usuario de iTunes o iVoox, por favor déjanos una valoración. Sumario y enlaces de interés 0:00:00 Cita: carta de James Johnson Sweeney a Josep Lluis Sert el 28 de abril de 1939 0:01:49 Introducción y sumario 0:05:45 Promo El gato de Turing 0:06:16 Arquitectos españoles en el extranjero 0:06:46 Rafael Guastavino Wikipedia (inglés, mejor que la española) Los Guastavino y la bóveda tabicada en Norteamérica Vídeo de minuto y medio Rafael Guastavino Construcción del McKim Building Bridgemarket bajo el Queensboro Bridge 0:34:06 Josep Lluis Sert Wikipedia Documental Josep Lluis Sert, un sueño nómada Obras  Sert (a la derecha) con Miró Casa de Sert Fundación Maeght 1:02:53 Félix Candela Wikipedia UrbiPedia Artículos JotDown: Los hypars de Félix Candela I y Los hypars II Félix Candela Prueba de carga sobre un paraboloide hiperbólico Restaurante Los Manantiales 1:22:13 Promo C'mmons Baby! 1:23:07 Correos y comentarios Tamsen Hølmebakk Arkitekter Ans Joyce's Garden de Bernard Tschumi 1:28:30 Despedida y formas de contacto Créditos Selección musical a cargo de C'mmons Baby! Todas las canciones incluidas en este episodio en el momento de su publicación se distribuyen bajo licencia Creative Commons. A longa marcha, Grampoder, álbum Golf Whiskey The House, The Cripple and the Tramp, álbum Deep in the Dark Suscripción Feed | iTunes | iVoox

Part of our Forgotten Masters series, and in association with Docomomo, this talk addresses the life of architect Jean Tschumi. Together with academic and writer Jacques Gubler, architect Bernard Tschumi discusses the work of his father, the first president of the UIA and the founding head of Switzerland’s French-speaking School of Architecture at Lausanne. Image caption: Aula des Cèdres, Lausanne, Switzerland, 1962 by Jean Tschumi Photo © Jean Tschumi Archives

Together with the academic and writer Jacques Gubler, architect Bernard Tschumi discusses the work of his father, Jean Tschumi, an important figure in the Modern Movement. This talk forms part of a series reconsidering forgotten or overlooked figures in the history of architecture.

My apology for this long silence. I was particularly busy on calls for papers these recent days. Not an easy task! These call for papers, however, drive you to new boundaries, new research. Furthermore, three weeks ago, I visited a site near the city where my parents live, a city located in the Parisian basin, a changing territory, known for being agricultural now becoming energetic territory with the presence of onshore shale oil platforms (or hydraulic fracturing facilities)  in this contested territory. I'm planning to add one of two more next week. Consequently, I will be once again silent for a couple of weeks. I can't say more as I am currently working on a series of posts on this topic of landscape-energy.Then I profit from this post to remind you this important information: two weeks left for sending me your abstract for Uncertain Territories' first volume Contingency. I will write a short post on this editorial project this weekend. I hope you all work hard…Good Luck!!!Colombian architect Luis Callejas just launched the 33rd volume of Pamphlet Architecture, a volume entitled Island and Atolls. Some months ago, his office announced to have been awarded by Pamphlet Architecture for their 33rd volume.Luis Callejas belongs to a list of architects including Mason White and Lola Sheppard of Lateral Office, Neeraj Bhatia of Lateral Office and Petropia, Smout Allen, to limit to these few names, I've been following for awhile.Note that Luis Callejas regularly collaborates with Lateral Office — I cite a few of these projects: Hydroborders, Klaksvik City Center, and Weatherfield.This Pamphlet Architecture will be a great occasion for me to have a better glance at his work.I will order my copy rapidly, this week, (despite a two/three-week wait certainly due to a problem of distribution via Amazon France), and with evidence, will go back to this little publication as soon as possible. This being said, Luis Callejas is presenting a series of drawings at Storefront for Art and Architecture, in New York in the framework of the exhibition POP: Protocols, Obsessions, Positions, until July 26.For those, me included, who didn't have the chance of visiting the first edition, POP: Protocols, Obsessions, Positions is Storefront For Art and Architecture's annual drawing show whose ambition is to discuss, transform our understanding of architectural drawings in the 21st century. This new edition gathers drawings of Amale Andraos of WorKAC, Adam Frampton, Ada Tolla & Giuseppe Lignano of LOT-EK, Eric Owen Moss, Fernando Romero of FREE, Form_ula, Gia Wold, Hayley Eber of EFGH, Filipe Magalhaes & Ana Luisa Soares of Fala Atelier, Lola Sheppard of Lateral Office, Kohn Pedersen Fox Associates, Marcelo Spina & Georgina Huljich of P-A-T-T-E-R-N-S, Arturo Scheidegger & Ignacio Garcia Partarrieu of UMWELT, Bernard Tschumi, Caroline O'Donnell of CODA, Hedwig Heinsman of DUS, James Wines, Juan Herreros, Mark Shepard, Michel Rojkind, Michele Marchetti of Sanrocco, Neil Spiller, Norman Kelley, Odile Decq, Rafi Segal, Ryan Neiheiser, Giancarlo Valle & Isaiah King of Another Pamphlet, Stan Allen, Veronika Valk, Viviana Peña of Ctrl G, Yansong Ma of MAD and Luis Callejas & Melissa Naranjo of LCLA Office.It's a good occasion to propose here a drawing of both Callejas and Naranjo for the moment when I will receive my copy. This drawing is titled Serrana and Quitasueño. Luis Callejas and Melissa Naranjo despict this drawing as:Serrana and Quitasueño ı part of Pamphlet Architecture 33. Islands and Atolls | Luis Callejas and Melissa Naranjo/ LCLA Office, 2013Hand cut collage on original mapsCourtesy of Luis Callejas and Melissa Naranjo/ LCLA Officetwo versions Storefront's facade as a 220 km long line extending over the degrees in latitude. The Sf's facade aligns with the newly redefined aquatic border between Colombia and Nicaragua in the currently redefined aquatic border between Colombia and Nicaragua in the currently disputed archipelago of San Andres and Providencia. What are the new scales of exchange between the small banks and Islands that are trapped in the legal battle for the sovereignty of the archipelago? What will be the new mechanisms of regulation that will affect the aquatic landscape that so many Colombian fisherman depend on? As in the beginning of making the drawing the two players could not agree on the answer, it was decided that each author would play the game of trying to depict the interest of each nation by representing the possible exchanges through opening and closing the 30 km long pivoting walls in different degrees. While the Colombian version (right) tries to leave more spaces for open international fishing routes, the Nicaraguan side (left) opens in specific point of intense exchange while isolating others for potential oil exploration by US and European corporations.In addition to the POP: Protocols, Obsessions, Positions exhibition, Serrana and Quitasueño is a part of this 33rd volume of Pamphlet Architecture, a volume that includes an interview with Geoff Manaugh and Mason White, and an afterword by Charles Waldheim. For those of us who cannot visit this exhibition, we will have an opportunity to discover this series of drawings. I hope to go back over Luis Callejas' work rapidly, at least on this new Pamphlet Architecture. For the most impatient among us, I will merely say that Luis Callejas is regularly described as a landscape architect. If the scale of the landscape constitutes his medium, Luis Callejas's interest focuses rather on non-built phenomena, namely, "things one cannot easily control and design" than on the notion of landscape. What interests me in Luis Callejas and LCLA Office's matters of concern is this question of 'non-built phenomena' that convokes a set of problems ranging from scale, infrastructure, space, production, complexities, contingencies, and so on.Natural phenomena are the raw materials used to generate a projected landscape. In this way architecture is not separated from Phenomena, it doesn't resist them or reject them, it lets them interact. When a given site has no expressive natural phenomena, or none that are appealing to us, we should consider the possibility of de-contextualizing a foreign phenomenon and artificially relocating it.*Let's wait and read this new volume of Pamphlet Architecture.Those among my readers living in the North America, you can have your copy as it is announced available on Amazon. For the rest of us, let's be patient…POP: Protocols, Obsessions, Positions is open from June 19 to July 26, 2013 at Storefront for Art and Architecture.* See: On Ash Clouds | Harvard Graduate School of Design, Department of Landscape Architecture

Craig Buckley, Beatriz Colomina, Peter Eisenman, Carlos Labarta, Jeffrey Schnapp, Felicity Scott, Bernard Tschumi, Anthony Vidler, Enrique Walker, and Mark Wigley Followed by a reception for Architects' Journeys: Building Traveling Thinking, Craig Buckley and Pollyanna Rhee, Eds. (GSAPP Books and T6 Ediciones, 2011). #wood111811

A conversation with Michel Abboud, Amale Andraos, Robert Beauregard, Andrew Bernheimer, Vishaan Chakrabarti, Karen Fairbanks, Laurie Hawkinson, Florian Idenburg, Laura Kurgan, David Lewis, Scott Marble, Gregg Pasquarelli, Susan Rodriguez, Leopoldo Sguera, David Smiley, David Stark, Bernard Tschumi, Marc Tsurumaki, Henry Smith-Miller, and Dan Wood. Moderated by Reinhold Martin, GSAPP, and organized by The Temple Hoyne Buell Center for the Study of American Architecture

durée : 00:49:08 - Les Grandes Traversées - par : Maryvonne de Saint-Pulgent - Archives. Très controversés, les nombreux grands travaux effectués sous la présidence de François Mitterrand visent aussi à relancer l'économie du bâtiment. Retour sur cette effervescence architecturale. - invités : François Mitterrand ancien Président de la République française (1916-1996); François Barré; Pascal Ory Historien, spécialiste d'histoire culturelle, membre de l'Académie française; Hervé de Charette député Nouveau Centre et ancien ministre des Affaires étrangères; Paul Chemetov architecte; Maurice Fleuret; Bernard Tschumi architecte

Renowned academic Beatriz Colomina and architect Bernard Tschumi come together to discuss the relationship between architectural forms, the events that take place within them, and modern institutions of representation.

The most recent building on south campus is the student center designed by Bernard Tschumi.