1. The Manhattan Transcript
Bernard Tschumi
a h s e n s e n e m s ı r m a | b e s t e n u r ö z t ü r k | ı ş ı k ö y k ü m ö z t ü r k

2. photo is taken by http://www.tschumi.com
Bernard Tschumi
one of today’s foremost architects
theoretical and practical architect
associated with deconstructivism
no architecture without events, actions or activity
form follows fiction
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3. The Manhattan Transcript
 neither real projects nor mere fantasies
complex relationship
between space and their use
between the set and the script
between type and program
between object and events
disjunctions among use, form and social values
hence, the drawings make use of the tripartite mode of notion developed earlier in order to introduce time and experience into the reading of architecture of the city.

4. The Manhattan Transcript
three dis-joined levels of reality
the world of objects
made up of buildings that are abstracted from maps, plans and photographs
the world of movements
taken from choreography, sports or movement diagrams
the world of events
derived from news photography.
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5. photo is taken by The Manhattan Transcripts - Bernard Tschumi
MT1 : THE PARK (plan)
point of view stand point moment
movement position freedom
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6. MT2 : THE STREET (section)
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7. MT3 : THE TOWER (axonometric)
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8. MT4 : THE BLOCK (perspective)
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9. photo is taken by http://www.tschumi.com
Screenplays | 1976
Relation between events and architectural space
transformational devices of a sequential nature
informative to act upon existing ones
Cinema as a source
the time-and-space nature of architecture
Flashbacks, crosscutting, jumpcuts, dissolves and other editing devices
They dealt with issues of material (generators of form: reality, abstraction, movement, events, and so forth), device (disjunction, distortion, repetition, and superimposition), and counterpoint (between movement and space, events and spaces, for example).
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10. Joyce's Garden | London | 1976
superimposition of one text on another
the disjunction between an architectural signifier and its programmatic signified, between space and the use that is made of it
Point-grid structure
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11. Joyce's Garden | London | 1976
Specific zoning not function
Work on the idea of «follies» as rather abstract buildings, designing and building a series of site-specific installations in art context
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12. Parc de la Villette | Paris | 1982-1998
Involved the design and construction of over 25 follies, walkways, bridges and landscape gardens
Park, a museum of science, a Grande Halle for exhibition
Urban park for the 21. century
Point grid system similar Joyce’s Garden
Breakdown mass
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13. Parc de la Villette | Paris | 1982-1998
Follies by superimpositioning
Three systems
Points
Lines
Surfaces
Identify and flexibility activities
Human movement
conceptualized as one large user-defined space that is completely open for interpretation.
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14. Parc de la Villette | Paris | 1982-1998
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15. Fireworks at Parc de la Villette | Paris |1992
lasted half an hour, took place on June 20, 1992, and was witnessed by more than 100,000 people.
a three-dimensional and fleeting version of the organizational principle of the park: namely, the superimposition of systems of points, lines, and surfaces.
event in space and time.
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16. Fireworks at Parc de la Villette | Paris |1992
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17. Le Fresnoy Art Center | Tourcoing |1991-1997
cinema, ballroom dancing, skating, and horseback riding, exhibition spaces, sound studios and assorted production facilities, a library, a cinema, a restaurant, and apartments for faculty and students
works produced by the visiting artist-professors and the young artists are also shown in various events in France and abroad.
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18. Le Fresnoy Art Center | Tourcoing |1991-1997
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19. References
Bernard Tschumi Architects. (n.d.). Retrieved March 21, 2017, from
Tschumi, B. (1995). Manhattan Transcripts. London: Academy Editions.
Tschumi, B. (2001). Architecture and Disjunction. Cambridge, MA: MIT Press.
Tschumi, B. (2012). Bernard Tschumi: Architecture Concepts: Red is Not a Color. New York: Rizzoli International Publications.