Contents

Page 4-7 INTRODUCTION

Pages 8-17 ORIGINS
Pages 18-31 LE PARC DE LA VILLETTE
Pages 30-31 REFERENCING AND BIBLIOGRAPHY
 Bernard Tschumi, Parc de la Villette, 1982- 1998

4 5
Introduction

In 1982, a competition was launched to reinvigorate an abandoned piece of land, located in the North

East of Paris. This was the previous site of the French National wholesale meat market and housed the

Paris Slaughterhouses. As part of this urban renewal plan, (and unlike the other competition entries)

Bernard Tschumi proposed Parc de la Villette, a revolutionary Landscape design. What puts this design in

a revolutionary status is due to the theories that underpin the architectural relationship between nature

and the strict man-made interventions on site. This opposes a traditional approach where nature, (land-

scape) is the predominant force in the design.

 Introduction

Le Parc de la Villette also created a stronger link between Architecture and Art

of the time (contemporary). The competition, as already stated, called for a

redevelopment of land but more importantly a new and creative urban park

that was to be designed for the 21st Century. Tschumis design, (in collaboration

with Jaques Derrida and Luca Merlini) did not use history as precedent and

would not be contextual. Instead he designed a park that used a pure concept 1,

looking at the contemporary issues of the time to create an architectural vision

that would develop in the future.

Furthermore, Le Parc de la Villette exemplifies a deconstructivist design and

was one of the first theoretical based designs as such of its time (1983). In this

way ‘Parc de la Villette seems to be a critical manifestation of urban life and

activity, where space, event and movement all converge into a larger system.’ 2

This essay will discuss the theoretical background to the main elements to the

design of Le Parc de la Villette.

Consequently, before we can effectively analyse the theoretical background

that inhabits the design of Le Parc de la Villette. One must first explore the

Origins and the design approach to Deconstructivism, as this movement has

played a huge role in the discussion of one of the most important parks of the

20th century.

6 7
Progrommatic deconstruction: the largest common denominator = the follie

La Villette: head architect, Bernard Tschumi

Jacques Derrida, French Philosopher, developed the term deconstructivism

 Bernard Tschumi, Screenplays (the fights), 1977

Bernard Tshumi, diagrams representing the progression in park design, 1976

8 9
ORIGINS OF DECONSTRUCTIVISM

At the beginning of the 20th century was a period of functionalism, this derived from a reaction to dec-

orated styles such as Art Nouveau etc. For the Modernists, the decor expressed on buildings and in Art

were a thing of the past. The advance in technology after the industrial revolution was an opportunity to

express this idea of functionalism. This could be considered as a non subjective view to architecture or

a ‘form follows function’ approach. The intellectual centre for the early modernist (1917-1950) was the

Bauhaus, exposing this new sense of ‘White Architecture’ in an attempt to discover a clarity and truth to

Architecture. They did this through detailing and a strong emphasis on shape and neutral colours. This

progressed swiftly onto a High Modernist approach (1950-1970) where Modernism became an interna-

tional style. Geometry, Logic, Statistics, Science and Mass produce became the rational way of designing

Architecture.
 ‘Form ever follows function’, Louis Sullivan, 1896

Bauhaus Centre, Metropolitan Museum of Art, 1919-1933

Jackson Pollock’s Autumn Rhythm, 1950.

Postmodern art in the expressionist forms.

10 11
Origins

However, there was a reaction to this in the form of PostModernism

(1970-present) and Deconstructivism plays a part in this anti-modern trend.

There was an overwhelming feeling that Modernism had repressed a lot of the

human experience, which felt should be an integral part of any building. Alex

Brown (LECTURER AT >>>>>>) argues that the functionalism of the Modern-

ists was too overwhelming and encouraged a lack of subjectivity to society

and instead was rejecting the complexity of things, of human experience.

The Post-Modern period was an attempt to reclaim the complexity of life into

our environment. It was a new form of diversity and complexity, different

ways of doing the same thing. This explains the attempt to try and solve the

contemporary issues of the period (1970‘s) such as feminism, ethnicity and

identity. It was considered an anti-science outlook, since science had been a

large part of modernism and so there must have been something wrong with

how it measured human experience. Philosophers of the time such as Jacques

Derrida, felt that Modernism had repressed the following aspects of human

experience; regionalism (culture), historicism (memory), Pop (Familiar Objects)

and Eclecticism (mix and match) which all became reactions/movements in

themselves. Deconstructivism was part of these movements but dealt with the

main feature of complexity. It is an attempt at at revealing the complexity and

multiplicity of things that lies under the surfaces. Where the general approach

was to reflect the human experience, which is quite subjective and complex in

itself.
 Origins

Deconstructivism began from the famous philosopher Sigmund Freud (1856-

1939). He stated in his book ‘The Unconscious’ that there was a clash between

the theory of repression and human expression, namely creativity. He explains

that the ‘Unconscious’ part of ourselves (which houses our experiences) were

being repressed by a “grid” and geometrical form. Freud, with patients attempt-

ed to deconstruct and reveal the reality of the individual. Derrida with Peter Ei-

senman (in the 1960s) developed this into a Architectural form of Deconstruc-

tivism. They experimented with opening up the form and the construction of it,

and then magnify the details and tell the whole truth behind a building.

12 13
Sigmund Freud, The Unconscious, 1915

Peter Eisenman, Wexner Center for the Arts,

1989. (Deconstructed a traditional shape to
reveal a new entrance)
 Villa Savoye, Le Corbusier, 1931 (Photo-
graph, Adam Brown)

Bernard Tschumi, Red is not a color, 2012

14 15
Origins

Bernard Tschumi was very skilled when adapting this new theory to his designs. He

sees Architecture as a language, selecting elements of experience and combining

them to form a new design, much like how we would create a sentence. At this

point in time, I believe that there was an overall sense that Modernism had failed

in someway, an underlining thought of “is that all Modernism has to offer?”. In his
book, ‘Red is not a color’, he expresses his architectural concepts in more depth. His

stated that ‘Architecture will break out of its cultural isolation and expand the par-

ticular form of knowledge of its time’ and ‘where reality meets fantasy’ 3. He wanted

to reveal the actual complexity of things, by re-introducing elements back into

Architecture such as joy, colour and the ‘Pleasure of Architecture’ 4 which were all

important in relation to the human experience. I tend to agree with this statement,

if we were to consider Le Corbusier’s Villa Savoye. There is not doubt that it is a

beautiful piece of Architecture, but this is because of its rationality and its function-

alism. On that basis, Le Corbusier had to repress some aspects (colour, grid) of the

design to realize the final scheme.

Now we must consider the general concepts of Deconstructivism and then apply

them to the design of Le Parc de la Villette.

 NO GRID
This is a representation of freedom against order. Modernism had encouraged

a grid as it was functional to the structure and it helped to organise the spac-

es. Deconstructivist’s saw this as repressive, the idea of a border limiting your

design into a forceful geometrical form.

BIG IDEAS
The concept of the design branching out beyond functionalism. Re-introduc-

ing aspects of the design stage such as the aesthetics or the emotional re-

sponse of the users.

ACCEPTING AMBIGUITY
Modernism couldn’t allow the ambiguous, everything in the design had to be

for a specific purpose. Bernard Tschumi and other deconstructivist Architects

thought that they would propose ambiguity back into the design to stimulate

different emotions such as curiosity, which is another aspect of the human

experience.

MULTIPLE MESSAGE/ POSSIBILITY OF OTHER MEANINGS

This concept can be seen as an extension of Ambiguity. Deconstructivism, as

a movement, wanted to develop the idea of subjectivity or reading a piece

of Art slightly differently to others. This was the attempt to move on from the

mass producing, objective modernism.

CONTENTION
Finally, the Deconstructivism deals with challenging everyday assumptions.

Since there was no grid system, parts of the design could (or seem to) Clash,

they could Fracture, they could Collide and thus Disrupting the ‘norm’ or stere-

otypes. Dillusioning forms. Overlaping subgrids and elements. These aspects

of design were thought out to get a certain reaction. Shock, because it was
pretty much propaganda for a new way of thinking, opposing the ‘norm’ or

Modernism. Each element is deconstructed to try and reveal what it really is.

16 17
Concepts

Bernard Tschumi, Space, Event and Move-

ment, The manhattan Transcripts.
(Testing theories of Deconstructivism)
18 19
Le Parc de la Villette

In 1980, shortly after President Mitterand took office, Paris was undergoing a redevelopment plan to

make Paris the cultural city of Europe. An so, he launched an Architectural competition with over 470 en-

tries to design an urban park for the 21st Century. The site consisted of 135 acres of land with the Canal

de L’Ourcq dividing it and is located in the Northeastern edge of the 19th arrondissment, Paris.
 Description

Tschumis proposal for the park was an idealistic and deconstructivist approach

that had never been attempted before at this scale. He wanted to evoke the

sense of discovery and freedom for the visitors to the site. To evoke exploration,

he scattered 10 themed gardens formed by curved and serpentine pathways

that you would stumble upon. Each garden also encourages different activities,

such as meditation of play. Two perpendicular walkways raise visitors up into

the tree line leading you to various points of the site. Tschumi organized space
by placing a grid of 35 points or follies, all individual in form, for which the

visitors can use as orientation and reference around the site. Finally, 85 acres of

land is dedicated as open air space to still give parisians a sense of separation

from the urban cityscape of Paris.

In French construction, there is a tendency for centralized decision making,

which is why President Mitterand was able to secure 300 million dollars to

fund the project without the approval of a governing body. However, there

were tensions in government that upset the construction time of the project.

In 1982, the it was not common knowledge that the government had budg-

eted this money and so in 1986, when a new government came to office, the

funding for the project was nearly ended. This created hostilities in the french

government for the next twelve years during the parks construction. (Tschumi,

Tschumi 45)

20 21
Bernard Tschumi, Park de la Villette, 1982-98 (Photograph, Adam Brown)

Bernard Tschumi, Park de la Villette, 1982-98 (Plan of point grid system)

Bernard Tschumi, Park de la Villette, 1982-98 (Elevated walkway across Canal de L’orcque)
 Design Intent

The Parc de la Villette, as stated, was a chance for Bernard Tschumi to test his

theories against other designers. The main aspect of his design proposed the

idea of disjunction throughout the site. This was his way of demonstrating a

complex piece of architecture that Clashed with the traditional rules of com-

position such as order and hierarchy. Bernard Tschumi Architects designed 3

specific systems, Points, Lines and Surfaces, these are used to create his con-

trasting spatial organisations.

POINTS
Firstly, a system of points (“follies”) each with a common 10m3 and occur on a

120 metre grid across Parc de la Villette. These are a series of red deconstructed

cubes that all have individual forms to one another. In Tschumi’s mind the Parc

de la Villette should be a new type of city rather than a traditional park (a relief

from the city). He then decided that, in the context of Paris, a point-grid system

should be used because it best conveyed the concept of the discontinuous

city. However, this grid network is not a deconstructivist approach to design.

As an architecture student, it gives the sense of the layout being ordered into a

geometrical form. On the other hand, Sir Geoffrey Jellicoe states, ‘the park was

an extension of Urbanism’ 5. Functionally the follies, because of their variety

in shape, offer the sense of orientation around the park and this was one of

Tschumi’s techniques at organising complexity.

22 23
This brings us back to a deconstructive reading of the site. When designing

the follies, Tschumi used some rules of transformation (repetition, distortion,

fragmentation and superimposition) and therefore and created follies that

provided no function . It seems that the matrix of orientation seemed to be a

consequence of the deconstructivist design. The follies are based on Derridas

philosophy, suggesting that since there are so many meanings to decipher,

the follies themselves lack any meaning. “People do react to the park, though.

They like it or hate it, although most don’t understand it. And that’s fine with

me, because I don’t want it to be so easy to understand. I want it to be used as

a mirror of their questions.”6

This brings back the deconstructivist idea of accepting Ambiguity, stimulating

curiosity with almost every visitor to the park.

24 25
Design Intent

Bernard Tschumi, Park de la Villette, 1982-98 (Concept for the point grid system, used throughout the site)

Bernard Tschumi, Park de la Villette, 1982-98 (Using elements of transformation; repetition, distortion, frag-
mentation and superimposition)

Bernard Tschumi, Park de la Villette, 1982-98 (Diagram representing an explosion of a deconstructed cube)

Bernard Tschumi, Park de la Villette, 1982-98 (Stairway of Follie R5, photograph, Adam Brown)
 Design Intent

LINES
Secondly, a network of movement, lines, two perpendicular axial routes run

parallel to the point grid system. These then form the two key walkways in

the park and thus gives le Parc de la Villette a linear focal point. These walk-

ways emphasize an appropriate entrance to the site. Two metro stations lie to

the North and South of the park, and each line is related to the pattern of the

connecting routes within the park. The North South route is to create a link be-

tween the important attractions in the park, such as the Museum, Grande Halle

and the Music Centre.

This would also appear to come across as functional due to the straight func-

tional profile of the walkways following the shape of the grid and in parallel

with Canal de L’orque. One can only be reminded of the similarities of the

Gardens at Versailles by Le Notre1746. Le Notre used ‘a classical approach’ 7W.

Through mathematics and proportion Le Notre organised nature into walls and

trying to exhibit internal architecture into the open air. The similarities between

the two designs are seen in the way they express movement using strong

linear lines. Despite this, Tschumi contrasted the geometrical walkways with

ground level walkways that form the boundaries with the themed gardens.

This creates a clash in the gesture of movement. Circulation in Parc de la Villette

constantly intersects and suddenly ends and then reconnects. This is emphasiz-

ing the theory of Contention.

26 27
When Designing, Bernard Tschumi was challenging traditional approach to

landscape design. As a visitor, one can only be overwhelmed with the sense

of discovery whilst exploring the spaces. This is achieved between the endless

curving paths intersecting with the walkways that emit a sense of perspective.

SURFACES
The final individual element to the design is the system of spaces, ‘Surfaces’.

The definitions of which rely largely on the alleys of trees. This aspect concerns

itself mainly with materiality. Some surfaces are constructed from naturalistic

elements such as gravel, grass and compacted earth, (such as the serpentine

paths that lead to a themed garden) and this emphasizes the freedom from

form and order. Whilst other aspects take a more mechanical route, such as

metal and concrete.

Ironically, the ideal of a landscape has been striped from the design concept,

which is usually the main focus for a traditional urban park design. Therefore,

the ‘landscape elements have become the infill between the built structures

that organize the project spatially and functionally. This is a further significant

point towards the deconstructivist theory of ‘no grid’. In Tschumi’s master plan,

the landscape is removed from the design process to allow room for and ‘ex-

pansive neutral space’.

 Design Intent Bernard Tschumi, Park de la Villette, 1982-98 (Axial route run parrallel to the orthogonal grid.)

Bernard Tschumi, Park de la Villette, 1982-98 (Diagram showng the access routes and main attractions of the
park)
Bernard Tschumi, Park de la Villette, 1982-98 (3 superimoised spatial organisations.)
System of movement, Lines.
System of Objects, Points.
System of Spaces, Surfaces.

28 29
 Conclusion

Furthermore, when considering the context of the Architect, Bernard Tschumi.

Having spent half of his childhood in both Lausanne and Paris, he may have felt

a tension belonging to one nationality. Since Deconstructivism has such a close

connection to an attempt to reveal individuality. As an onlooker we can make

a presumption that his design philosophies are an attempt to find his own

identity.

When we now consider the relationship between the 3 design aspects of

Le Parc de la Villette (Points, Lines and Surfaces), there is no doubt that they

superimpose and contrast one another. Each Layer, when placed in plan, clash

with one another. For example the first impression of a point grid system with

circulation between them being very fluid and serpentine creates tension in

the design. The three layers of design are dissociated entirely from one another

and therefore giving the impression of complexity. The common techniques

used in the deconstructivism movement are such ones as contention, freedom

from order, ambiguity and multiple messages. These theories all come together
to create a richness and discontinuity that exists in life. This is whats known as

a metaphysical approach, contemplating the nature of being and encouraging

the human experience through subjectivity.

30 31
Due to le parc de la villette being a deconstructivist site with ambiguity and

multiple messages, the individual is given the impression of confusion. We

must therefore create a subjective point of view. Furthermore this enforces

honest, realist and spontaneous aspects found in the existence of our human

experience.
Refernces

1. J. Daniel Pugh. (2004). Parc de La Villette. Parc de La Villette. LARC 263 (3), 12.

2. Andrew Kroll. (2011). Parch de la Villette. Available: http://www.archdaily.com/92321/ad-classics-

parc-de-la-villette-bernard-tschumi/. Last accessed 21/03/2014.

3. Bernard Tschumi. (2012). Part A. In: Rizzoli International Publications Red is not a color. London:

Rizzoli International Publications. p40.

4. Bernard Tschumi. (1994). The Pleasure of Architecture. In: The MIT press Architecture and Disjunction.

Cambridge, Massachussetts: The MIT press. p81.

5. Sir Geoffrey Jellicoe. (1983). Park Futures. Architecture Journal. 21-28 dec (4), 56-59.

6. Bernard Tschumi (2005). Tschumi. 2nd ed. Cambridge Massachussetts: MIT press. 51.

7. Sir Geoffrey Jellicoe. (1983). Park Futures. Architecture Journal. 21-28 dec (4), 56-59.
Bibliography

i. Bernard Tschumi (2005). Tschumi. 2nd ed. Cambridge Massachussetts: MIT press. 51.

ii. Bernard Tschumi. (1994). The MIT press Architecture and Disjunction. Cambridge, Massachussetts:

The MIT press.

iii. Bernard Tschumi. (2012). In: Rizzoli International Publications Red is not a color. London: Rizzoli

International Publications.

iv. Bernard Tschumi. (1994). The Pleasure of Architecture. In: The MIT press Architecture and Disjunction.

Cambridge, Massachussetts: The MIT press. p81.

v. Sir Geoffrey Jellicoe. (1983). Park Futures. Architecture Journal. 21-28 dec (4).

vi. Andrew Kroll. (2011). Parch de la Villette. Available: http://www.archdaily.com/92321/ad-classics-

parc-de-la-villette-bernard-tschumi/. Last accessed 21/03/2014.