Books about Tschumi from Amazon.com

In March 2003, Bernard Tschumi convened forty of the world's leading architectural designers and theorists -- Elizabeth Diller, Peter Eisenman, Zaha Hadid, Steven Holl, Rem Koolhaas, Greg Lynn, Winy Maas, Thom Mayne, Ben van Berkel, Mark Wigley, Alejandro Zaera-Polo, and many others -- for a conference at Columbia University. The exceptional array was asked to predict the conversations and directions of architectural practice in the 21st century. Speakers addressed the categories of current architectural discourse -- form, aesthetics, material, detail, politics -- and questioned their future validity. Other topics included architects' obsession with the detail, the possibility of practicing a politics of material, the definition of an avant-garde urbanism, the importance of form beyond its aesthetic value, and whether architecture can directly influence the social world. The State of Architecture brings together manifestos, musings, and meditations to capture the key polemics raised by this extraordinary convocation of thinkers..
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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..
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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..
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Mirei Shigemori decisively shaped the development of Japanese landscape architecture in the twentieth century. He founded the Kyoto Garden Society in 1932 and published the 26-volume Illustrated Book on the History of the Japanese Garden in 1938. One year later he designed his own first masterwork, the garden of the main hall of Tôfuku-ji Temple. Between then and his death in 1975, he went on to design 240 gardens throughout Japan. Among the most famous are the Tenrai-an tea garden (1969) and the Matsuo Taisha garden (1975). All of his gardens are distinguished by the fact that they honor tradition while at the same time – through their openness to Western modernity – they free themselves from its weight and develop a language of their own. The first part of the book will deal with Shigemori’s life and influences, including his interest in ikebana and tea ceremonies. The second part will offer detailed presentations of some seventeen different gardens.

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Perfect Acts of Architecture presents six sets of highly inventive drawings by contemporary avant-garde architects Rem Koolhaas and Elia Zenghelis, Peter Eisenman, Bernard Tschumi, Daniel Libeskind, and Thom Mayne. Created between 1972 and 1988, when many architects turned to teaching because economic conditions had drastically curtailed building commissions, these works reflect the period's intellectual debates and demonstrate graphic experimentation as a proactive mode of research. Each suite of drawings, fully illustrated with superb reproductions, offers great insight into the creative processes of six young designers, who have since gone on to establish major international reputations. To put this "paper architecture" into a broader historical context, Jeffrey Kipnis and Terence Riley provide introductory texts as well as concise commentaries on each of the projects..
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In Event-Cities (MIT Press, 1994), Bernard Tschumi expanded his architectural concerns to address the issue of cities and their making. Event-Cities 2 continues this project through new selections from his recent architectural projects. The book includes the first comprehensive documentation of the drawings for the award-winning Parc de la Villette (including many previously unpublished drawings), his project for the expansion of the Museum of Modern Art, two architectural schools, a concert and exhibition hall, a student center, a railway station, a department store, and other urban projects. Tschumi suggests that architecture can accelerate the events of everyday life through new forms of organization. Using various modes of notation ranging from rough models to sophisticated computer-generated images, he reveals the complexities of the architectural process and the rich texture of events that define urban reality today..
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Conceived for new art forms of the twenty-first century, Bernard Tschumi's Le Fresnoy, the National Studio for Contemporary Arts in Tourcoing, France, is part experimental art laboratory, part multimedia production center, part school, part cinema and exhibition and performance space. This highly celebrated building defies categorization, encouraging crossovers between architectural programs and art forms. A huge, technologically advanced roof covers both existing and recent construction, housing the renovated spaces of a former entertainment complex built in the 1920s. In Tschumi's remarkable building, the "in between" or residual spaces located between the existing tiled roofs and the new, hovering steel structure punctuated by glass "clouds" becomes a place where artists can take cover.

Much as Tschumi invented a new concept of urban park with his Parc de la Villette in Paris, he brings to Le Fresnoy an innovative concept about the spaces generated by collisions between forms, programs, and the varied systems of contemporary culture. A group of essays by authors including Sylviane Agacinski, Alain Guiheux, Alan Fleischer, and Sylvia Lavin, among others, provides a theoretical and historical context. Extensive photographs and illustrations document the design, construction, and completion of this most polemical of new buildings..
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INDEX Architecture documents the extensive cross-fertilization of ideas that can occur between architectural practice and education Through work developed by students and faculty at Columbia University's School of Architecture, it offers not only an archive of avant-garde work but a record of architectural discourse at a time when the design studio has been radically altered by digital technology.

Writings, interviews, and images are organized according to an alphabetical "index" of key terms. Cross-referencing allows for a rich reading of concepts currently discussed in the field. The contributing critics and theorists include Stan Allen, Karen Bausman, Lise Anne Couture, Kathryn Dean, Evan Douglis, Kenneth Frampton, Leslie Gill, Thomas Hanrahan, Laurie Hawkinson, Steven Holl, Jeffrey Kipnis, Sulan Kolatan, Greg Lynn, William MacDonald, Reinhold Martin, Mary Mcleod, Victoria Meyers, Hani Rashid, Jesse Reiser, Bernard Tschumi, Nanako Umemoto, and Mark Wigley..
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Bernard Tschumi is a border crosser in the field of contemporary architecture. Equally present in Europe and the United States, he laid the cornerstone for his influential body of work two decades ago with a project that combines architecture and landscape architecture, theory and practice: the Parc de la Villette in Paris.

Dean of the Columbia Graduate School of Architecture in New York for many years and the author of numerous books on architectural theory, Tschumi possesses a body of work that is presented here in overview for the first time. His current projects include a high-rise apartment building in New York, the Zénith Concert Hall in Limoges, and the new Acropolis Museum in Athens.

Gilles de Bure, the author of numerous architectural publications on Jean Nouvel, Dominique Perrault, Christian de Portzamparc, and others, presents an in-depth analysis of Tschumi’s work.

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Mirei Shigemori (18961975), a historian trained in painting and ikebana, is increasingly admired for his contemporary Japanese garden designs Believing the garden had fallen into clich, Shigemori applied modernist shapes, colors and materials to create stunning avant-garde works that also celebrated the ancient Japanese gods and rituals. This book explores 10 major Shigemori works-from the checkerboard garden of Tofukuji (1939) and the "Hidden Christian" dry landscape at Zuiho-in (1961) to the masterful stone settings at Matsuo Taisha (1975)-using design/cultural analysis, garden plans and photographs.

Christian Tschumi is a landscape architect with degrees from Harvard and Kyoto.

Markuz Wernli is a designer and photographer in Kyoto.

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