• Korean Institute of Interior Design Journal
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• v.18 no.5
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• pp.59-70
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• 2009

Since the emergence of a philosophical theory called deconstructivism, intertextuality has been promote the hybrid phenomenon amongst other jenres in arts. Various research efforts in intertextuality, however, have been more focused on the fields of literature and philosophy, rather than of architecture. This study aims to clarify the intertextuality between architectural design, music and literature as the following analysis of James Joyce's Finnegan's Wake, John Cage's music and Bernard Tschumi's early works. Joyce's Garden of Bernard Tschumi's project and some of John Cage's music works had borrowed from Finnegan's Wake, a novel James Joyce. Hence, the commonality between Bernard Tschumi and John Cage can naturally be related through Finnegan's Wake. Also, Finnegan's Wake had been contextualized by Jacques Derrida before it was used as a mediation by Bernard Tschumi. In this viewpoint, the paper will be able to identify the possibility of intertextuality between musical text and architectural one with a medium of literature. Major findings of the study are as follows: First, Finnegan's Wake played a guiding role to deconstruct the existing formalism and to construct a new concept in John Cage's music and Bernard Tschumi's architecture. Second, John Cage's music and Bernard Tschumi's works are included commonness with indeterminacy concepts. Third, the both artists share a drawing concept as found in John Cage's graphic notation of the 1950s and Bernard Tschumi's early architecture where grids, dots, and curves are used in common. As s result, intertextuality could be possible to make sure between others. Like this interdisciplinary research of relationships among different fields will be of great help in constructing creative design methods in architecture. With continuous research attempts, it is hopeful to intertextualize architectural texts with related art fields.

• Korean Institute of Interior Design Journal
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• v.24 no.6
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• pp.87-95
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• 2015

Aldo Van Eyck and Herman Hertzberger explained 'In-between space' as an intermediate space between opposite elements such as whole and parts, inside and outside, open and close, central and decentral. From this idea, the meaning of 'in-between space' has developed and applied to works of Bernard Tschumi and Sou Fujimoto. In this study, the meaning of 'in-between space' was compared and analyzed based on two architects' works to reveal the design approach in terms of 'in-between space' Final Wooden House, N House, and Serpentine Gallery Pavilion among Sou Fujimoto's work were selected and Le Fresnoy, Lerner Student Center, and Acropolis Museum among Bernard Tschumi's work were selected to analyze. To understand their design approach, their works were compared and analyzed in architectural attitude, tools, construction style and the approach, concept, theme, relation, direction of in-between space. As a result, Sou Fujimoto uses 'in-between space' as a nebulous approach as intermediate space between opposite elements. For Bernard Tschumi, 'in-between space' is also an intermediate space to emphasize and make a tension between opposite elements. It is a method of solving the contradiction condition between old city environment and new architecture.

• Korean Institute of Interior Design Journal
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• v.18 no.1
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• pp.27-34
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• 2009

Architect Bernard Tschumi had explored a new architectural conception through his own notional devices such as space, event and movement during 1970s. But, among these notions, the concept of movement was ambiguous and difficult to adopt it for architectural design strategy. Because the movements in everyday's behaviour or in dancing art are significantly different from architectural thought. However he had succeeded in coining the creative notion of movement as almost real body's and of living flesh. He invented an acute methodology and bold interpretation for his early experimental works. So, this paper tried to understand and analyse his concept of movement focused on his early works. The results of this paper's discussion are as follows; First, Tschumi's movement concept Is dynamic one operated by desire and can violate space in physical level as well as metaphysical level. Next, the movement performs the role of generator which deforms space or even generate it. Third, his movement can be readable only when you go down and bring it in practice. Also it Is unblocked potentiality, undetermined sequential material and unfinished practice. Fourth, when Tschumi's movement could be thought as walking, this walking movement makes up a story through rhetorical speech acts that are presented by turns and detours.

• Journal of architectural history
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• v.20 no.4
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• pp.115-134
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• 2011

International Competition for Parc de la Villette has evoked the old architectural question that is about the conflict between unchanging architecture and ever changing time. Tschumi and Koolhaas suggested well-known solutions for it, both of which had started from the criticism of general urban design approach that ignored changing factors in time. However, this study argues that the approaches of Tschumi and Koolhaas are even opposite to each other in spite of their common aims. Influenced by deconstructivists' theories, Tschumi tries to generate the 'text' on the surface of la Villette so that the different users of the park can read it differently. The text is built by 'superimposing' different systems such as points, lines, and surfaces. This study criticizes such formalistic approach since such 'forms' do not generate any dialogue with the real users but just stay as a backdrop for irrelevant events. Meanwhile, Koolhaas concentrates on the 'ground-ness' of la Villette. What he deals with is the real ground which embraces all the potentials on it already. His 'bands' express nothing but the metamorphosis of the ground, and the ground generates the 'differences' out of itself by repeating itself ceaselessly. This study tries to clarify all those happenings and meanings by intimate investigation of various drawing works for the la Villette project by Tschumi and Koolhaas.

• Korean Architects
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• s.487
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• pp.94-98
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• 2009

이번 호의 Project 섹션에서는 Bernard Tschumi Architects의 Acropolis Museum, High Standard라는 주제 아래에서 James Corner Field Operation의 High Line, Polsh다 Partnership의 Standard New York을, 그리고 UNStudio의 MUMUTH Music Theater가 소개되고 있다. Building Type Study에서는 '도심의 녹색 건축(Green Civie Building)'이라는 주제로 Anmahian Winton Architects의 Community Rowing Boathouse, Safdie Rabines Architecs의 Baldwin Hills Scenic Overlook, 그리고, Jane F. Kolleny의 Whistler Public Library에 대해 소개하고 있다.

• Korean Institute of Interior Design Journal
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• v.21 no.4
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• pp.57-67
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• 2012

The goal of this research is to study the spatial and temporal disjunctive composition of the movie 'Kill Bill part 1/2' and to lay a foundation for the future exploration of the topological relationship between contemporary architecture and cinema based upon the spatial and temporal multiplicity. Since the birth of cinema in early 20 century, architecture and cinema have a dynamic interdisciplinary relationship as Soviet director and theorist Sergei Eisenstein has called the Acropolis of Athens as 'one of the most ancient films' based upon its cinematic spatial sequence, and contemporary architect and theorist Bernard Tschumi has adopted cinematic montage technique to create his own disjunctive event-structure. As french philosopher Gilles Deleuze has traced the cinematic version of his 'disjunctive synthesis' from Eisentein's 'dialectic montage', Deleuzian 'disjunctive synthesis' can be discovered not only from the work and theory of Bernard Tschumi and Rem Koolhaas, but also from the 'Kill Bill's disjunctive composition where the heterogeneous spatial images and temporal images are under continuous interaction to create rhizomatic relationship between the cinema and viewers.

• Journal of architectural history
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• v.12 no.3
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• pp.65-86
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• 2003

After 1960s, a radical change was taken place in the modern urban theories which were developped by many architects and planners like Ebenezer Howard, Tony Garnier, Le Corbusier, Ludwig Hiberseimer, and Patrick Abercrombie. Many contemporary architects like Kevin Lynch, Aldo Rossi, Christopher Alexander, Colin Rowe, Rem Koolhaas, and Bernard Tschumi have a view that modern urban theories lost their abilities to organize and control new realities so that new urban theories was needed in order to cope with urban problems in the 1960s. In this study, we are to examine contemporary urban theories in comparison with modern urban theories and to clarify the role of discourse of language in its emergence. In consequence we can detect four main themes in the process of transformation from modern urban theories to contemporary urban theories : from functionalism to formalism, from historicism to archeology, from space to placeness, and from hierarchical organization to network. And we can prove that such themes basically depend on the discourse of language.

• Journal of architectural history
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• v.11 no.1 s.29
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• pp.33-48
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• 2002

The purpose of this study is to analyze the Daniel Libeskind' spatial concept in view of the Merleau-Ponty's Phenomenology. After the coming of postmodern architecture, the concept of space ceased to be discussed between architects. Instead a sign and a form were supposed as much more important subject to define architectural discipline. But after 1980, the new concept of architectural space was experimented by the architects like Frank Gehry, Peter Eisenman, Steven Hall, and Bernard Tschumi, which was clearly distinguished from modern spatial concept. By the Daniel Libeskind' architecture, this study are to make clear this tendency. For this, we accept as an important instrument Meleau-Ponty's phenomenology and the spatial concept of Minimalism, which stress the relationship of inter-subjectivity between space and human body. Consequently, Daniel Libeskind' spatial concept is characterized by fragmental, accidental, heterogeneous space by accidental events which is occurred by movement of human, which was indentified with Merleau-Ponty's spatial concept.

• Korean Institute of Interior Design Journal
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• v.22 no.1
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• pp.132-142
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• 2013

An event as philosophical thought is expanded throughout our society and affected largely an architectural field as well as aesthetics. Paying attention to this fact, this study is to relate the event to an architectural space and to find an interrelationship between them. Since Martin Heidegger who started to be regarded the event as a subject of thought, many philosophers revealed different thoughts about it. Architecture works of Louis I. Kahn, Peter Zumthor, Steven Holl, Bernard Tschumi, Rem Koolhaas who had the influences from the thoughts of Martin Heidegger, M. Merleau-Ponty, Jacques Derrida, Gilles Deleuze, are analyzed and compared their features. The reason why this relationship has become the subject of research is because the event can be confirmed to be connected with an architectural thoughts by correlating with aesthetic texts. Throughout this study, each architect, who is affected from philosophers, has different characters as they have different thoughts about events. This study is expected to be used as an literature data of intertextuality of philosophy and architecture.

• Journal of architectural history
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• v.8 no.2 s.19
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• pp.87-108
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• 1999

Since 1960, the change of architectural trend was dominated by two factors ; the one, the introduction of theory of language (including semantic, syntactic, pragmatic, linguistic, semiotic, structuralism, post-structurism) in design concept, the other, the adaption of high technology in building construction. In particular, the theory of language played an important role in the emergence of new tendency, which could be the alternative of modern architecture. Post-modernism and Typology in the 1960-70s, Deconstructivism in the 1980s and 'Folding' architecture in the 1990s, have continually borrowed a theoretical base from the thee of language. Placing the focus on the relation of contemporary architecture and theory of language with the interdisciplinary view, this study comes to the conclusion that the diverse architectural tendencies since 1960 depend on the 'champ d'enonce', which Michel Foucault, French philosopher, defined in his . The writings of many architects, like Robert Venturi, Micheal Graves, Aldo Rossi, Peter Eisenman, Rem Koolhaas, Bernard Tschumi, Gerg Lynn demonstrate our conclusion. This is an important finding which make possible consistent understanding about contemporary architecture.