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"Any relationship between a building and its users is one of
violence, for any use means the intrusion of a human body into
a given space, the intrusion of one order into body into a given
space, the intrusion of one order into another."
• Bernard Tschumi (1944) is an architect, writer,
and educator, commonly associated with
• He works and lives in New York City. He studied
in Paris and Zurich, where he received his
degree in architecture in 1969.
• During the 1970s, through drawings and written
texts, Bernard Tschumi insisted that there is no
architecture without events, without actions or
• ‘Form follows fiction’ is one example of
Bernard Tschumi's rules of architectonic notation
that have made him an internationally influential
• “Architecture is not simply about space and form, but also
about event, action, and what happens in space.”
• The Manhattan Transcripts differ from most architectural
drawings in so far as they are neither real projects nor
• Developed in the late1970s, they proposed to transcribe
an architectural interpretation of reality.
• The Transcripts purpose was to transcribe things
normally removed from conventional architectural
representation, namely the complex relationship between
spaces and their use, between the set and the script,
between “type” and “program”, between objects and
• Tschumi’s style of design is
often an integration of linear
and curvature forms.
• The primary basis of Tschumi’s
designs is the grid. It is a
dominant part of his designs.
• The grids incorporated in his
designs are usually derived
from characteristics of the
building site or the city.
• They are often accompanied by
curved or organic forms.
• He combines the urbanistic and
naturalistic qualities of the site
in his building designs to create
• Tschumi derives the elements of his designs forms from:
–The existing layout of an urban fabric.
–Existing cyclical patterns:
–Linear connections to relevant city features:
•Natural Land Features
–Topography patterns within the building site
• Technologies of Defamiliarization
• The Mediated “Metropolitan” Shock
• De-structuring: “Weakening” of architecture, this altered
relationship between structure and image, structure and
• Cross programming
• Events: The Turning Point
LOCATION-Kyoto is a city
located in the central part
of the island of Honshu,
• IT WAS OPENED TO THE PUBLIC IN 1997.
• KYŌTO STATION IS A MAJOR RAILWAY STATION AND TRANSPORTATION
HUB IN KYOTO, JAPAN.
• IT IS JAPAN'S SECOND-LARGEST STATION BUILDING AND IS ONE OF
THE COUNTRY'S LARGEST BUILDINGS
• INCORPORATING A SHOPPING MALL, HOTEL, MOVIE
THEATER, ISTEN DEPARTMENT STORE, AND SEVERAL LOCAL
GOVERNMENT FACILITIES UNDER ONE 15-STORY ROOF.
• THE STATION’S LARGE MAIN HALL WITH ITS EXPOSED
STEEL BEAMED ROOF CALLED THE MATRIX REFLECTS
THE STRUCTURE OF THE STATION AND IMITATES THE
GRID LIKE LAYOUT OF KYOTO’S STREET NETWORK.
• HAS A TOTAL FLOOR AREA OF 238,000 SQUARE METERS.
• ARCHITECTURALLY, IT EXHIBITS MANY CHARACTERISTICS OF
• WITH A SLIGHTLY IRREGULAR CUBIC FAÇADE OF PLATE
GLASS OVER A STEEL FRAME.
• THE STATION HAS A SIDE PLATFORM AND FOUR ISLAND PLATFORMS
SERVING EIGHT TRACKS FOR THE TŌKAIDŌ LINE AND KOSEI LINE AT
• THREE DEAD-END PLATFORMS SERVING FOUR TRACKS FOR THE SANIN LINE
TO THE WEST OF PLATFORM 0 AT GROUND LEVEL, AND TWO DEAD-END
PLATFORMS SERVING 3 TRACKS TO THE SOUTH OF PLATFORM 7 AT GROUND
• TWO ISLAND PLATFORMS SERVING FOUR TRACKS FOR THE SHINKANSEN
ARE ELEVATED, ABOVE THE PLATFORMS FOR THE KINTETSU KYOTO LINE.
KYOTO STATION IS THE CITY'S
TRANSPORTATION HUB, SERVED BY JAPAN
RAILWAYSTHERE ARE TWO SIDES
TO KYOTO STATION:
KARASUMA AND HACHIJO.
THE BUSIER KARASUMA
SIDE TO THE NORTH
FACES DOWNTOWN AND
IS NAMED AFTER THE
MAIN STREET LEADING
LUGGAGE STORAGE AND TAKUHAIBIN
(DELIVERY SERVICE) COUNTERS ARE
AVAILABLE IN THE BASEMENT OF THE
COIN LOCKERS ARE SCATTERED ALL
OVER THE BUILDING,
BESIDES THE STATION FACILITIES,
THE BUILDING'S 15 FLOORS OFFER
SEVERAL OTHER ATTRACTIONS AND
THE GRANVIA HOTEL,
AN ART MUSEUM,
A THEATER AND
A VAST ARRAY OF SHOPPING AND DINING
As a part of an international
competition, 1982-83, to revitalize
the abandoned and undeveloped
land from the French national
wholesale meat market and
slaughterhouse in Paris, France,
Bernard Tschumi was chosen from
over 470 entries.
Tschumi did not design the park in
a traditional mindset where
landscape and nature are the
predominant forces behind the
design. Rather he envisioned Parc
de la Villette as a place of culture
where natural and artificial are
forced together into a state of
constant reconfiguration and
• The basis of the design is the superimposition of three
independent systems, namely:
• The repetition of folies is aimed at developing a clear symbol for the park, a
recognizable identity as strong as the British public telephone booth or the Paris
• Their grid provides a comprehensive image or shape for the otherwise ill-
• Similarly, the regularity of routes and positions makes orientation simple for
those unfamiliar with the area.
• An advantage of the point-grid system is that it provides for the minimum
adequate equipment of the urban park relative to the number of its visitors.
• The park surfaces receive all activities requiring large
expanses of horizontal space for play, sports and exercise,
mass-entertainment, markets and so forth.
• During summer nights, for example, the central green
becomes an open air film theater for 3,000 viewers. The so
called left over surfaces where all aspects of the program
have been fulfilled, are composed of compacted earth and