• 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.

• Archives of design research
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• v.11 no.3
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• pp.69-76
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• 1998

The purpose of this study is to present a method of preparing for a more enduring built environment, being fully aware that, in consideration of time flowing from past to present, there is no ardlitecture in creation that is not abandoned. Efforts were made to find the problem solutions in relation to the hierardlial structure, evolvement and adaptation of living beings. The process of study was as follows, ·The built environment's affordance to human beings and the designer's role was explained. ·Having an understanding of the necessity of user minded planning, the architectural adaptation of the multi-layered hierarchy system of holon theory and adoption of time conception into architectural space were examined to explain that the importance in ardlitecture should be placed in transition, not in perfection. ·The design of Parc de La Villette by Bernard Tsdlumi was analysed from the above viewpoint. Having a practical case analysed, this study is expected to offer a basic information for use in case of visual presentation of a theoretical viewpoint.

• Korean Institute of Interior Design Journal
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• v.23 no.3
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• pp.144-152
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• 2014

This study evaluated how folly is experimented in the contemporary architecture after 30 years when Bernard Tchumi first introduced it to the public by the modern transformation as a garden ornament. First, folly project has been carried out based on the general concept of energizing dwindling cities. However, it has changed to the direction of adding specific programs. Also, along urban regeneration that does not change deterioration of previous structures, Folly changed in the emphasis on readjust existing structure. Second, by having different designers presenting their own follies during the Osaka Expo, folly now has part on visual exhibition element. This has similarity with public art project, yet it could more actively intervene for urban regeneration compared to conventional environment sculpture. Third, folly is experimented as the event-installation art combined form of architecture and art where people could experience the space and enjoy art. Fourth, folly enabled the landscaping of architecture and expanding city planning. Recently Gwangju Folly invited various arts, social, and cultural professionals to converge city design with architecture, landscaping, and other diverse genres.

• Journal of architectural history
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• v.7 no.1 s.14
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• pp.93-108
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• 1998

The threads of this thesis are several theoretical issues of modern urban ideals. Modern architects and urban designers conceived their individual artifacts, which assumed to be laid out on the new settings totally different from the existing urban fabrics derived from inherently medieval ones. In the discussion of modern ideal society, the Industrial Revolution and the Enlightenment was a pivotal point. Innovations in technology and expanded living territories since the double revolution have been critical factors in the evolution of new ideas of urbanism. The tremendous success in science and technology led a way to the 'science-fiction' environment as a destined apocalyptic world. The dream, whether it was socialist or in any other believes, to a pastoral utopia beyond the capitalist society was represented through the ideal cities, which were modern versions of arcadia in the other approaches. Two sides of revolutionary ideas are presented as a futurist city and a garden city, which are on the separate notions but co-existed or overlapped in a single urban project such as in Le Corbusier urban schemes or even Tchumi's recent work, Parc de la Villette. Urban ideas in the twentieth century are based on urban naturalism, the notion of which was consistant from abbe Laugier to Le Corbusier, as well as machine aesthetics interpreted in terms of archeological research and modern technology.

• Korean Institute of Interior Design Journal
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• no.12
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• pp.10-17
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• 1997

The lastest art is being characterised by an ever active exchange between different genre. This is a study on the installation aspect in deconstruction architectured and interior design. The progressive and aggressive nature of installatation art embodies uncatagorized genre, the freedom of material application, introduction of the notion of time in space, the reversion of subject and object, the union of art and every experience, understanding of object through deconstruction, enlargement of concept of space, collage-style composition and layer technique. I can conclude that the installation aspect in Tshumi's Parc de la Villette is its call upon the audience to actively participate, the introduction of a coincidental conjunction, its challenge on the conventional idea of park and its flexibility caused by human activity and time. In Hadid's Hong Kong Peak Club the installation aspect is the application of layer technique using four enormous beams horizontally laid out on a man-made moutain. Furthermore, Libeskind's pursuit of the mental in Berlin Museum Extension through the penetration of an invisible line into a void creates a new interpretation of the role of a museum and thus relates itself to installation art. The installation aspect in Himmelblau's Vienna Roof Renovation is the literal deconstruction of the roof of an old building in the old section of Wien and the expression of time and space through the interrelationship between interior and exterior environment by the use of juxtaposition technique. Finally, I note that the installation aspect in Gehry's Santa Monica Residence is the reorganization of cheap material as a form of 'object', that creates spon-taneity, movement as well as flow of time in space and ex-hibit the double-sidedness of the visible world.