Construction of Bernard Tschumi's Parc de la Villette (Essay Sample)

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The contribution of superimposition and deconstructivism on contemporary architecture is evident in the work of Bernard Tschumi, the Parc de la Villette in Paris, France, which is a solid ground of the concept of uncanny design. Thus, the objective of this paper is to establish the role of uncanny, in the architectural design of the and construction of Bernard Tschumi’s Parc de la Villette. In contemporary times the influence of architectural uncanny in social spaces is dominantly a tool of expression which highlights the crisis in architecture and the need to find new ways of diversifying social designs. Thus, this explication show that Bernard Tschumi’s Parc de la Villette work was perceived as controversial since it can traced to deconstruction that is, variation from traditional architectural styles in pursuit of personal expression and application of superimposition by abandoning postmodern architectural methods. In the case of La Villete-which is a thriving area on the eastern region of Paris-the construction took after a design that enhanced its function and performance as an expanse and a space for activity, which offer a freedom of exploration from the nature of its superimposed organization. It overall, look is an interactive themed interaction of gardens. To achieve its design, the Parc de la Villette has an essential pattern of demarcation by means of lines, which cross its arc unlike follies, which do not assume an organizational structure. Instead, they are distributed in way that they intersect and lead to various points of interest in the park. Nonetheless, its uncanny nature form most traditional picturesque parks, which are umprogramed, are relatively alike in some semblance of performance whilst maintaining a novel design. The concept being its program is difference that references its scale and system of performance to criticism of continuous differentiation due to the adoption of superimposition and the architect wish to express his style which is an extension of deconstruction (Anthony 42).
It follows that modern architecture of the utopia compares differently from traditional forms which measure to a quantifiable justification whereas modern forms exceed the sense of necessity of architecture to offer value that surpass requirements by increased sophistication as seen in the Parco de la Villette. The chief values of its design are efficiency and efficacy give it the elective nature for the purpose of forms, which are because of deconstruction, and accompanying superimposition design approaches. Deconstruction explains the distinct difference that modern architectural creations such as the Parc de la Villete have from traditional designs of architecture, which contribute to their uncanny nature and their perception as such. The impact of this is a realization of architectural design shift and influence of change in achieving new forms in contemporary architecture, which has come to the core of refashioning the social designs, and experience that cannot be found in traditional architecture. The place of contemporary, uncanny designs inform the diversification of architecture by modern artists and modified forms that make the uncanny world of contemporary architecture such as Parc de la Villete (Anthony 62).
It is crucial to understand the uncanny and contemporary deconstruction of architecture design because of superimposition which is a style and dominant pattern that Tschumi exploits a in his work of Parc de la Villete. This is practical through analytical observation of this works as non-traditional. The revelation of uncanny architecture and understanding through deconstruction yields an expression of what postmodern architecture is and its place in design and performance orientation that has been perceived as unusual due to the typical subscription of the notion of architecture as uniform unlike the resultant variation, which is mainly formed from superimposition in deconstructing traditional forms. The design of Parc de la Villete is not merely a disquieting form; it has more and takes the elements of programmatic development to achieve this design and its aesthetic value. The architect herein uses a cooperative combination of fiery, smooth, hard, angular, brutal, round, delicate, colorful, obscene, voluptuous, dreamy, wet, dry, throbbing, alluring and repelling elements. The resultant forms, which are the dominant design in contemporary architecture, are rather disquieting unlike the traditional forms that are reassuring and inclined to a stable form of architecture. The Parc de la Villete park which Tschumi presented at time of Coop Himmelablau and his peer artist’s deconstruction was strongly a piece of evidence of the impact of deconstruction in informing its architectural design. In addition, it was an inspiration to the artistry to express himself hence an uncanny forms of architectural design since it leaves behind the e of “anthropocentric” elements of traditional architecture. The resultant uncanny forms herein are efforts of the artist in the Parc de la Villete to explore his work in the discomfort of introducing new forms. Thus, from this viewpoint of uncanny, the contemporary artists such as Tschumi do not only inspire and inform deconstructivism but imply the exclusive phenomena of contemporary architecture whose theme is a thematic alien homely presence of unusual designs. The revolution from traditional to modern or rather metropolitan designs explain the artists move towards a defamiliarisation of traditional forms of architecture. This perception though new is deep-rooted in artists’ experiences. For instance, the avant-garde movements that fueled the modern reception of uncanny architecture in public constructions was a informative guide too thee working of Parc de la Villette. This has cumulatively developed and earned a considerable room of attention to artists in their optimism and desire to express themselves in the modern period since its postmodern version was adopted in the 1960s. The appearance of the uncanny is thus a relevant theme that has been depicted in literature including films that associate the uncanny with the principle of deconstruction that has resulted in a new gnerationof forms in an objective suppression of work that is correlatively objective in contemporary times as is the case of Parc de la Villete (Anthony 82).
From the works of Tschumi, the image or rather popular belief in traditional form and design has lost ground since his work integrates park design with the elements of a city environment and becomes fully rounded that visitors do not have to visually leave a city to experience a park-as a solitary rural environment. On the contrary, the work of Tschumi adopts creative collectively objective expression that produces an “urban park” whose place is the postmodern contemporary design of architecture that embraces a radical break from the traditional inclination of functionalism. However, the artist is still faithful to functionalism in his art by use of follies and case vides that stand out with red cubicles at regular intervals throughout the park and formally reflects constructivism of modern utopia from the works of Tatlin’s Russian. As such the change is rather a functionalist ideal therapy that constructionists adopt to achieve an expression of their believe that geometry can be modified and applied in such a way that its repetition differentiates architecture to render parks such as Parc de Villette a sure source of happiness, health and harmony. The concept of iteration which is unheard of in traditional forms of architecture deride subversion and standout as new concept to identify with (Bart Van para’ 2).
As for the Parc de la Villetee formulation of system elements to architecture is quite apparent. In contemporary architecture, forms and designs are combined with functionalism such that it is subjective from the artist’s intention to achieve a differentiation and reveal pleasure in architecture. In attempts to look at buildings, the “great buildings” of the historical architecture are rather deconstructive of modern uncanny models whose functionalist and therapeutic themes are not at the core of the “Parc de la Villete” instead the architect is the center stage of the work and expresses the “pleasure principle.” In this particular case, the Parc de la Villete solely manifests the superimposition of layers and its specific contribution to ordering systems and layering of points that aid the architect to achieve a whole site in personal style. For instance, this particular project is characterized by an intersection of the horizontal nod vertical lines at every 120 meters that Tschumi refers to as crossing points. On each particular point, a folly is built and a three-storey red cube 1ometres cubic used to construct either a ligne or an arc. Such a construction is typical all building that use superimposition and assumes a pattern that is free of a pre-programmed function and is generally common in public space facilities. The cubes used at vertices are also known’s as case vides although not all follies are conceived as cubes they are not exactly the same size in different parks. Some cubes are cylindrical whereas others assume a triangular form attached to them. In addition, other cubes take the form of flat surfaces hence norm and deviation cross in an ambiguous relationship. Once more, the idea of repletion and the concept of iteration take center stage as functionalist purposes establish the need for contrast and difference. Thus, Tschumi assumes this technique by laying out the first layer characteristic of patterned-space that is “point-like activities” that specifically lie within the concentrated surf...