Parc de la villette experiencing the madness by Lyuba Pekyanska

Parc de la Villette: Experiencing the Madness

LYUBA PEKYANSKA BA Architecture University of Greenwich

In this text I look at the theoretical position behind Parc de la Villette, how it evolved to what is to be known today. I reveal the influences behind the ideas that build up architectural drawings and compare them with my experience as an observer. I am looking at a place where architectural elements and people’s intentions merge together to build up a part of the city that doesn’t stop searching for its programme.

Except where stated otherwise, this dissertation is based entirely on the author’s own work. 1

CONTENTS

INTRODUCTION 5 CHAPTER 1: The Philosophy of Madness 11 CHAPTER 2: Associations 19 CHAPTER 3: Part of the Harmony 27 CONCLUSION 37 Bibliography 43 List of Figures 45 References 47

Word count 5058 2

INTRODUCTION ‘‘In Madness equilibrium is established, but it masks that equilibrium beneath the cloud of illusion, beneath feigned disorder; the rigour of the architecture is concealed beneath the cunning arrangement of these disordered violences.’’ ( Foucault, M., 1989: 34)

What first led me to the idea of writing about Parc de la Villette by Bernard Tschumi were the drawings. I was mostly interested in the development path of the project. The architect’s manner of using diagrams as a design tool interested me as a way of understanding the story behind the project. I made some research over Bernard Tschumi’s specific way of expressing his thoughts and ideas visually and read his early works and interviews. Then I went to Paris to see the project and my thoughts went to a different direction. A person could experience a project only through his/her intentions and actions or perhaps by his/ her direct experience defined by intentions and actions. Therefore, in saying that desire is essential for the ideas and influence the architectural design for a human to experience, I claim it is the most important issue in a project. In Parc de la Villette the uniqueness is a result of the combination of desires and previous occurrences. Both desires and the theoretical issues give consistence and strength to the project (programmed to be experienced). They define the architectural concept that program the site. The definition of ‘desire’ here will refer to every person’s own world through which everyone of us communicates with the world around. However, Fig.1 General axonometric view of the Parc area (Tschumi, B., 1987: 6,7)

there the architectural spaces become places where the combination of events provoked from desires build up the face of it and reaches its optimum limits. My aim of writing about Parc de la Villette is to define the madness in the project by identifying the sporadic point of thoughts in developing a design. I am looking into the philosophy prior to the creation of a concept, as at the method of defining the space and the opportunities for experiencing the project provided to visitors. If I have to assign a definition to the term ‘madness’ I will refer to Foucault’s quote and would say ‘order’ by which I mean not only the visible but all the other issues that are hiding behind it, too. In La Villette the ‘violences’ are the lines, points and surfaces that define the illusion. The verb ‘experience’ realize the full potential of its meaning in giving the opportunity to every person to find his/her path, led by his/her own intentions, through the juxtaposition of architectural components. The word ‘’madness’’ is not used with the purpose of pointing out a tragic reality. Instead, it stands for the irony behind the illusions it brings (Foucault, M., 1989:34). Despite the fact

that most of Tschmi’s design is told to be cinegramaticaly oriented and some of the critics back in the days claim that ‘’This project is organized chaos; everything that is contrary to the traditional French architecture’’ (Tschumi, B., 1986:24), one can clearly recognize references that are used in the design of la Villette. The illusion of uniqueness connects with Peter Eisenman’s Cannaregio project and Guevrekian’s garden’s designs engaging ‘’the sense of sight’’ (Imbert, D., 1993:138). On the other hand, the theoretical idea of giving the human body a space to feed its imagination with the sense of discontinuous refers to Archizoom’s project ‘No-Stop city’’. In other words, experiencing the madness here takes the direction of experiencing the multiple ideas behind the concept and exploring the site in a manner of going through the little pieces and connecting them together to form an entity.

Fig.2 : 1978, Advertisements for Architecture (Tschumi B., 1999:100)

Therefore, after my visit to the site I reached the conclusion that there is a difference between experiencing the project through its architectural drawings, in Parc de la Villette’s case the diagrams, and understanding the architectural project through the body and its motion around the physical layers of information. If the juxtaposition of cinegrams and descriptive geometry is madness then how is the placing of a football field next to a gallery or a huge science museum

among folie structures to be described. Is it truly a sign of madness that the architect does not show such big structures as the music hall or the science museum in his drawing or is it provoked by the reluctance to distract the visitor from the Parc’s précised order? The diagrammatic illusion of intentions and series of scenes vanished behind the view over the field contrasting with the red structures that give opportunities to the visitor. In addition, the appreciation in architecture is in the person’s consideration of all the possible actions that he/she could assume to do and in la Villette to appreciate architecture is to commit to experience the madness hidden behind the layers of points and sequences. Finally, what I am questioning through analyzing the project’s drawings and comparing them to the actual place is whether the architectural design establishes the rules or actually follows the rules that people set with their intentions, desires and acts. I claim that Parc de la Villette achieves its full potential through people’s experiences but that would not be possible without a place to communicate with. Therefore, the arrangement of the space becomes crucial to foresee the future usage of it. The rigour in Parc de la Villette is hidden behind its well-arranged design programmed by its visitors.

CHAPTER 1 THE PHILOSOPHY OF MADNESS ‘’…the contemporary city and its many parts (here La Villette) are made to correspond with the dissociated elements of schizophrenia.’’ (Tschumi B., 1987)

Firstly I would like to clarify that it is not madness as a mental illness that I refer to, but the associations that people bring to the world and after that to relate it with the world of architecture and the illusionary face that it receives there. I would take Foucault’s quote that ‘’in madness equilibrium is established …‘‘ (Foucault, M., 1989: 34) and interpret it as a final point of an architectural design. If the equilibrium exists that means that there is more than one issue that could make it possible, therefore we should have more than one line to make a drawing, more than one evidence to accuse the suspect and more than one path to choose a way. Parc de la Villette creates a new way of escaping from the city provoked by the movement of events. Going through different ways of searching for the right architectural explanation of madness Tschumi develops a project that contains his observations and philosophical thoughts over space and the relation of the human body in it. Here in La Villette the collision between use, form and social values draw the architectural face of madness in the project.

Fig.3 Extracts from The Park (MT1 – Manhattan Transcript episode 1) (Tschumi,B., 1994) 12

Tschumi goes through layers of information and events while defining the way he wants to work on his projects. In accepting that the programme is

probably the most important issue in creating a design he sets his focal point of developing architectural spaces. He says that there ‘’would not be Parc de la Villette without the Manhattan Transcripts’’ (Tshumi B., 1994). This is supported by the way he developed a manner of drawing diagrams. They present the process of building up the ideology of drawing through exposing information. The overlapping of objects, movements and events here present a reality, which the architect extracts from maps, photographs, choreography or even the news. Through his diagrammatic axonometric drawings related with photographs and diagrams of movement Tschumi builds up the conflict of his project. As a consequence his architectural Manhattan Transcripts drawings become part of people’s everyday activities. By the same token, I assert that without these activities there would not be need of architectural spaces and more specifically in the Transcripts there would not be need of four episodes that lead to the revealing of a murder. Here the notation of scenes defined by photos or diagrams give sequence to the event presented to be followed. The act of insanity here builts up series of diagrams that arrange a story and give space to the events to escalate. The sequence of

events that reveals the murder acts as a movie. The notation of events, movement and spaces introduce order that is defined by the architectural drawings. The diagrams of the Manhattan Transcripts are precisely made to interact with the understanding of the project. Here the choice of using plans or axonometrics is crucial as a way of defining the certain level of information that is given for the observer to react to – ‘’photographs show the actions; plans reveal the changing architectural manifestations; diagrams indicate the movements of the protagonist’’ (Tschumi, B.2012:82). The architect draws particular boundaries that are applied by the person who follow their compression or superposition. Accordingly I question why Tschumi says that ‘’the first episode is a rejection of everything he did wrong with la Villette the first time around’’ (Tschumi B., 1986:22). The 1976 project and its rejection, I reckon, should restore a different level of thinking over the programmatic idea of the Parc. As the predecessor of the first episode of the Manhattan Transcript – The Park (MT1), it is not successful because the project does not act as completeness. I would say it does not merge with the city and seemingly shows disorder. Fig.4 [Drawings from the 1976 competition][image online] Available at: <http//lessadjectivesmoreverbs.tumblr.com/page/4>[Accessed 5 December 2012] 14

The Manhattan Transcripts follow their ‘’particular organization’’ (Tschumi B., 1994:10) that is defined by sequence, movement and events. In The Park (MT1) the intentions, movements and architectural space act together to define an entity. It looks conventional in a way of showing an event and its many parts in a particular order, starting from a certain point and then modified by the other existing elements (intentions and spaces). However, I would rather say that through its axonometric drawings it builds up a certain level of information, shows particular scenes, important for the main event (the murder) to be revealed. ‘’There, attitudes, plans, notations, movement are indissolubly linked’’ (Tschumi, B., 1994:8). The Park builds up the ideology of creating drawings that would show an architectural space defined by event hidden in the illusion of its madness. Does this organization project in the same way over the final design of la Villette as well? I consider a positive answer here, despite the fact that in la Villette, besides that sequence, movement and event, there are the geometry and the discontinuity - the geometry that is defined by the juxtaposition of points, lines and surfaces and them which are defined by discontinuity of intentions. They all build up

one well organized chaos that escalates humans’ desires. As a part of the city the Parc acts ‘’both as cause and effect’’ (Foucault, M., 1989: 32) and brings up a solution of an undefined problem. If in the Manhattan Transcripts there is the murder, in la Villette there are the intentions. The elements of schizophrenia here become the people that communicate with the parc’s order and programme it. Here the little city becomes a part of Paris by communicating with its no stopping elements (inhabitants). It acts as a static place, undefined and segmented, where people find ‘’false solutions for false problems’’ (Foucault, M., 1989: 32). The three-ply form of notation, taken from the Park (MT1), designs in la Villette, as well. The juxtaposition of architectural elements defines order to be followed in the revealing of people’s intention. The Parc becomes discontinuous part of the city looking for its combination of events. Even ‘’the theoretical interlude’’ (Tschumi, B., 2012) of spreading the folies across Paris conduct the idea of unstoppable permutation of events that connect the whole city. The open possibility of performing draws the overall concept of la Villette. The repetitive sense of geometrical forms and events strengthen the fractured pieces of intentions to build up organized chaos of la Villette. Fig.5,6,7 Collages showing the utopian idea of spreading folies around Paris (Tschumi, B., 2012:146,147) 16

Fig. 8 Exploaded axonometric view showing the superimposition of the three systems (lines, points, surfaces) (Tschumi, B., 1987:3) 17

CHAPTER 2 ASSOCIATIONS ‘’Although every creation is of necessity combinative, society, by virtue of the romantic myth of ‘inspiration’ cannot stand being told so.’’ (Tschumi, B., 1987:24)

Fig.10 Plan view over the site of Parc de la Villette (Tschumi, B., 1987:1)

Fig.9 [Plan drawing of the Cannaregio project by Peter Eisenman][image online] Available at: <http//drscsparkman.wordpress.com/2011/10/> [Accessed 22 January 2013]

I believe that the Cannaregio 1978 project by Peter Eisenman has had a great influence over the design of parc de la Villette and more specifically over the juxtaposition of lines, point and surfaces and the deconstruction of a cube that lead to the design. The ‘’topological axis of symmetry’’(Bédard, J., 1994:58), the diagonal line, that separate the site of Cannaregio and in the same time connect it with Venice resembles the two main lines that connect Parc de la Villette with Paris. The ‘’topological’’ architecture that Peter Eisenman uses acts as a tool to place a sense of proportion. The transformation of elements in his dwellings presents objects that combine with the continuous surface defined by the diagonal line and topological elements of the site. In the same manner Bernard Tschumi plays with the defragmentation and combination of the cube that later on become the folies. He opposes them to the line grid and the layer of surfaces to present the discontinuity of the Parc permutations. The two main lines in la Villette act at the same way as the Cannaregio project’s diagonal - they connect the Parc with the city, give sense of orientation and give consistence to the combination of forms. Here the idea that the form is always a result of combination or permutation transforms the overall face of the grid.

The two main lines of transformational relations that Tschumi uses, mechanical and hypertextual, make the folies indivisible. Just as past, present and future merge in Cannaregio project, here in la Villette Tschumi merges the parts of the ‘’madness’’ (architectural components) and present the well organized chaos in his project. Another influence on Parc de la Villette with its ideas of discontinuity is, Archizoom’s No-Stop City project - that presents no boundaries. The grid, the conjectural and the open space ready to be programmed are leading to the utopian idea of city that does not have an end, depending on Nostop-City. Here the presented space is actually the system that gets programmed by peoples’ acts on the inside while the outside leads the mind to discontinuity - the gridded exterior that is static and the interior ‘’place waiting to be programmed’’ (Lawrence, A. and Schafer, A., 2006:88). In la Villette the grid points one to the association that the park is a city within the actual city. There the illusion of discontinuity is created by the pointed grid and the folies that represent it. The exterior and the interior here merge in one piece where the structures actually present the possibilities of performing. However, as with Peter

Fig.11 No-Stop City interior waiting to be programmed (Lawrence, A. and Schafer, A., 2006:88)

Fig.12 Cinematic promenade and folie of spectcles (Tschumi, B., 1987:15) 22

Eisenman’s dwellings, that manifest their appearance of merging interior-exterior, the folies in Parc de la Villette appear as undefined objects, that follow the instructions of their occupant. The folies act as places where the participants could choose from a variety of activities. The complexity comes with the decision of movement. Choosing a direction over the red structures could lead to confusion. It is defined by the distraction over the red structures - if the performer decides to follow the lines or the surfaces level of the Parc he could end up with a programme different from the starting one. I thus claim that the architectural space is not as important as human’s desires as a way of a place designed from the intentions of non-programmed people. The madness in the project lies in the option for visitors to be able to experience the scenes through their own eyes, while at the same time being led by their desires and the strict regulation of the grid that gives a specter of opportunities and variation of possibilities. In movies each frame is placed in a continuous movement. The Parc as a way of escaping the city does the same with the human body. When you experience the actual project it transports

you to a series of cinegrams. A cinegram, used as a definition of an architectural space, explains the division of space in series of movie reminding frames. They are shown not in static place rather than in context that refers to the discontinuity of events in combination and possibilities. The architect here presents a physical never-ending movie. My aim when I was at the Parc was to observe and understand the project, to prove or reject the sensation of repetition, sequence and harmony. According to, my own experience I consider that this also depends on the movement of the other participants. The movement of the others was just as important as my own. Despite the fact that I did not know people’s intentions for being there, I got a sense of understanding them through my knowledge of the Parc’s folies drawings and what is happening in each one of them. At first glance the most perceivable issue in the architectural drawings of the projects is the point grid which gives consistency to the Parc area. In Tschumi’s interview with Alain Orlandini he says that ‘’A grid that, in fact, could very well have been random. The choice of regularity here was a purely strategic one. To make the grid

regular was to ensure that all the Follies would be built’’ (Orlandini, A., 2004:163). In this line of thoughts the folies become a significant part of the overall project, mostly because of their ideological part in the park strategy. In reality they become the symbol of the park not only with their red appearance but with their programmatic role as well. As single structures, they all have a specific place and lead the people through their way of creating their own scenes in walking through La Villette, but they also act as an entity. Similarly, the components of Gabriel Gueverekian’s garden Jardin déau et de Lumiere, of 1925, merge together. The geometry and the colours that have been used are opposed to the landscape and create their own one. I see this project as another proof that the idea of searching for a static place

Fig.13 Combination of folies (Tschumi, B., 1986: 9) 24

Fig.14 Axonometric drawing – Jardin d’eau et de Lumiere by Gabriel Guevrkian (Imbert, D.,1993:221) 25

to experience existed before Parc de la Villette. By using repetitive elements and bright colours Guevrekian explores the site of the garden. He presents a garden with character that is defined by the geometry, which becomes the landscape. The triangles, the plants and the colours give the visitor an opportunity to experience the garden through different points of view. In other words we could experience the project through our decision to pick a point of view useful to our own perception of the space. However, in Tschumi’s project the superimposition of the three main architectural systems, defined by the geometry, opens a wide range of opportunities to experience the project through different heights and combinations that could reveal or hide some of its elemensts.

CHAPTER 3 PART OF THE HARMONY ‘‘In their individual state, objects, movements, events are simply discontinuous.’’ (Tschumi Bernard, 1981:9)

In this chapter I will consider issues to do with perception. I will question the succession of the drawings by comparing them with the feeling of being inside the physical one. The focus of my analys will be the manner of drawing and the reading of them. I am questioning the level of representation and its succession - why axonometrics, perspectives or plans have been chosen. Here the manner of revealing the space becomes crucial for the project. Most of the key drawings of the Parc are axonometrics. They present the different reality of communicating between an architectural object and a human who interacts with it. The drawings that show the project through a specific point of view convey the sense of moving away from the reality. They control the level of information to be received and open a range of possibilities. On the other hand, I would look at the anatomy of the Parc through the perspective of a participant exploring other peoples’ acts and performance and compare it with the perspective drawings of the projects that give depth to the space and a sense of reality. Here the real scenes merge with the drawings to show the consistence of the project.

Fig.15, 16 The two galleries – own photographs

Fig. 17 Axonometric drawing showing the line system that merges with the point grid (Tschumi, B., 1986:3) 28

La Villette gets its line density thanks to the two structural galleries (the main coordinates of the Parc). When I got into Parc de la Villette what impressed me most was the North-South Gallery that acts as a ‘’public street’’ (Orlandini, A.). 29

It links the folies with the most frequent activities, the Museum of Science and Industry and the Grand Hall and the two subway stations Porte de la Villette and Porte de Pantin. It offers the chance to go through the whole length of the Parc and leads you to certain places. In contrast to the longer one, the East-West gallery acts more as a way of exploring the depths and the heights of the Parc. The linear structures supplement the point grid. They both give the visitor a chance to play their own game around the area. In a superimposition act of design their role in the Parc is not to create symbols similar to the folies, but rather to present a way of actually exploring the symbols. They are paths directed as a counterpoint to the grid of folies. In the axonometric drawings that do not concentrate only on the orthogonal lines, in the drawings that show the overall composition of the Parc the main lines do not take control over the grid or the surfaces. They are hiding behind the scenes offering the opportunity for rejection or acceptance of the desires. The lines here give flash back to the reality where people construct their line of experience. The line orthogonal system acted as a device for quick exploration of the project. It led me through the two lengths of the Parc and made me explore the landscape through different levels. On the other hand, the seemingly random one leaded me through the frames and revealed one arranged path for the exploration of the thematic gardens.

The axonometrical drawings show them as one well-arranged movie where the components communicate between each other to the creation of discontinuous rhythm of ‘’cinematic promenade with the alleys of trees’’ (Tschumi, B., 1987:16).

Fig.18, 19 Plans of the cinematic promenade of gardens (Tschumi, B., 1986:15, 19)

Fig.20 Extracts showing the cinematic promenade (Tschumi, B., 1987: 16) 30

Tschumi creates a rhythm to the movement around the place. The different heights, lines of trees, gardens or even the folies give the place a sense of melody. This sequence is as important as the soundtrack in a movie. It gives certain division between the frames and the different fragments of the site. Mostly the frames and sequences are shown in the plan drawings. They represent another path of exploration which corresponds with the other layers of opportunities. As a physical experience they act in a similar way to a movie strip. When you follow the line of sequences it brings up pictures that remind one of movie scenes, waiting to be programmed. They give certain information, a garden or a folie, as well as an opportunity to move to another solution for performing. They build up a feeling of insanity as a way of offering a chance to feel lost or confused about your intentions of acting around the Parc. People communicate with the place through their own desires, going there with a certain aim. Some of them go jogging, others want to show the Science Museum to their children or people who go there just because they are looking 31

for an escape of their daily round. I was there interacting mostly with the people not with the environment. What I mean by that is that I was exploring the site but I was provoked by people’s movement around it. I was following them to a certain folie that revealed another scene and opportunity of the site. The juxtaposition of architectural elements creates a system of people, who randomly follow their desires leaded by the landscape. The architect does not show in most of his drawings the big existing structures, The Musical Hall and The Science Museum, but not with a purpose to underestimate their importance. There he created a certain story defined by the superimposition of the three main systems (lines, points and surfaces). Similarly to the Manhattan Transcripts’ drawings, that follow the places of interest that reveal the big question of the event shown in an axonometric drawings (murder), in Parc de la Villette the architect creates a series of axonometric drawings showing the specific places of interest seen from a certain point that brings up a choice of opportunities. There the crucial part of the project becomes not the existing places already programmed but the places defragmented and juxtaposed over each other that bring up a discontinuous possibilities for the people to programme their own reality.

‘‘Folie/folly/ (17th century) - extravagant house of entertainment Folie (21st century) – madness, insanity’’ (Tschumi B., 1987)

Fig.21 Exploded folie (Tschumi, B., 1986: 6) 32

Fig.22 Sequences (Tschumi, B., 1987:22, 23)

My aim was to explore the site through my intentions which were to find the point where architecture and experience meet. In most of the drawings the grid appears as a device to arrange the composition of architectural elements. The madness provokes with its bright color, perfect arrangement and lack of programme by giving the opportunity to the person to see it through his/her vision, its many parts or just a single piece. The people actually programme the Parc by giving it a density of reactions. The social values make the grid consistent. They relate it to the city and its parts. The colour red is a significant part of its understanding. As a chosen colour it is not a random design decision. It is used more as a way of showing the concept of the project by defining symbols to be followed. ‘’Red is not a Colour’’ (Tschumi, B., 2012). Here it takes the value of possible reactions and conduct them to their mysterious way of searching for event. It gives a sense of presence to the project, build up a remarkable sign. As a way of provocation, it acts as a tool to wake up the senses in the human mind. It creates the immediate appearance of the project and acts as a psychological device for communicating with people. Here it breaks the border between the project and the city and challenges even a casual visitor, who is not familiar with the project, to experience diving into Tschumi’s spectacular world of elements. Even the theoretical idea of spreading the folies around the city does not seem random anymore. The folies would give place to the city where the madness will escalate conducted by the geometry and the continuous acts of performing.

CONCLUSION ‘’…the architecture of the future would not emerge from an abstract act of design but from a different point of us…’’ (Lawrence, A. and Schafer, A., 2006:87)

May I claim that madness is qualified by actions just as actions are qualified by spaces? ( Tschumi, B., 1994:XXI) Otherwise if I can say that one project is in order the things that define it as such are the people and their actions or the key architectural elements that force people to act. However, maybe the act of communication is the primary point which give the architectural space consistence by letting people to interact with it through their ‘violences’. Parc de la Villette builds up an order defined by its participants. Here the value of ideas and the intensity of visitors draw the overall face of the project designed to communicate with them through its architectural components. The cinematographic manner of presenting the possible scenes of the project is a crucial decision for the presentation of the Parc. Despite all the influences used for its designing strategy– other architect’s projects, previous findings of Bernard Tschumi or the historical issues of the site, the movie based idea keep its place as one of the strongest ones. The world of cinema presents the world of discontinuity by exploring every scene that is put in a continuous movement giving a series of possible event combinations where the characters define

their own world. Here in Parc de la Villette in the same manner the space presents its density and depths waiting to be explored. People act as a building device that strengthens the possibility of combination dictated from their intentions and desires. The architecture merges with its concept to create a place looking for its program that emerges only when person and architectural space create dialogue. I would rather refer to the juxtaposition of possible events but the superimposition of architectural elements. When I say event here I define it by all its physical acts of presentation which escalate provoked by space made to suit them. Therefore, the diagrammatical architectural drawings that act as a device for showing the extraordinary reality of the Parc make the project fragmented. They strengthen the architectural frames in entity. There the visitor of the real place not familiar with the project could feel the same but would experience it through his/her own intentions of making an event. The participant reacts to the place as a part of the madness (order). The response to the architectural project is hiding behind the little pieces showing the presence of communication between the people and the existing

place made of realities provoked from intentions. The conflict in la Villette emerges where the notation of events meets its predecessor (the space) that could influence different kinds of desires which would provoke complex combination of acts. In consequence the Parc becomes a place with specific sequence that reveal its undefined programme by people’s acts. Therefore, the provocation of experiencing the madness is hiding behind the complex decision of choosing the right point of view while reading the architectural space provided. The order acts as a device for leading people by giving specific points of information full of opportunities and constrains which expose people’s desires. If the architectural diagrams suggest an illusion that is rigorously leading us to a specific direction – not programmed but defined by its architectural elements, I suggest that in architecture the programme builds up the experience and the architectural elements create the concept which receives its optimum meaning through people’s escalation of events.

Fig.23 Aerial view of Parc de la Villette (Tschumi, B., 1987:10, 11)

Bibliography

Faucault, Michel,1989, Madness and civilization: a history of insanity in the age of reason, London: Tavistock/Routledge

Garcia, Mark, 2010, The Diagrams of Architecture, Chichester:John Wiley & Sons

Heys, K.Michael, 2009, Architecture’s desire: reading the late avant-garde, Cambridge: The MIT Press

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Tschumi, Bernard, 1987, Cinegram Folie le Park de la Villette, Princeton: Princeton Architectural Press

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13. Bédard, Jean-François; Canadian Centre for Architecture; Balfour, Alan, 1994, Cities of artificial excavation: the work of Peter Eisenman, 1978-1988, New York : Rizzoli International

List of Figures Fig.1 General axonometric view of the park area (Tschumi, B., 1987: 6,7) Fig.2 Advertisements for Architecture, 1978 ( Tschumi B., 1999:100) Fig.3 Extracts from The Park (MT1 – Manhattan Transcript episode 1) (Tschumi,B., 1994) Fig.4 [Drawings from the 1976 competition][image online] Available at: <http//lessadjectivesmoreverbs.tumblr.com/page/4>[Accessed 5 December 2012] Fig.5,6,7 Collages showing the utopian idea of spreading folies around Paris (Tschumi, B., 2012:146,147) Fig. 8 Exploaded axonometric view showing the superimposition of the three systems (lines, points, surfaces) (Tschumi, B., 1987:3) Fig.9 [Plan drawing of the Cannaregio project by Peter Eisenman][image online] Available at: <http//drscsparkman.wordpress.com/2011/10/> [Accessed 22 January 2013] Fig.10 Plan view over the site of Parc de la Villette (Tschumi, B., 1987:1) Fig.11 No-Stop City interior waiting to be programmed (Lawrence, A. and Schafer, A., 2006:88) Fig.12 Cinematic promenade and folie of spectacles (Tschumi, B., 1987:15) Fig.13 Combination of folies (Tschumi, B., 1986: 9) Fig.14 Axonometric drawing – Jardin d’eau et de Lumiere by Gabriel Guevrekian (Imbert, D., 1993:221) Fig.15, 16 The two galleries – own photographs Fig. 17 Axonometric drawing showing the line system that merges with the point grid (Tschumi, B., 1986:3) Fig.18, 19 Plans of the cinematic promenade of gardens (Tschumi, B., 1986:15, 19) Fig.20 Extracts showing the cinematic promenade (Tschumi, B., 1987: 16) Fig.21 Exploded folie (Tschumi, B., 1986: 6) Fig.22 Sequences (Tschumi, B., 1987:22, 23) Fig.23 Aerial view of Parc de la Villette (Tschumi, B., 1987:10, 11)

List of References Faucault, Michael, 1989, Madness and civilization: a history in the age of reason, London: Travistock/Rouledge Faucault, Michael, 1989, Madness and civilization: a history in the age of reason, London: Travistock/Rouledge Tschumi, Bernard, 1986, La Case Vide : La Villette 1985 / Bernard Tschumi with essays by Jacques Derrida and Anthony Vidler ; interview by Alvin Boyarsky, London : Architectural Association p.24 Imbert, Dorothee,1993, Modernist Garden in France, London: Yale University Press p.138 Tschumi, Bernard, 1987, Cinegram Folie le Parc de la Villette, Princeton: Princeton Architectural Press P.? Faucault, Michael, 1989, Madness and civilization: a history in the age of reason, London: Travistock/Rouledge Tschumi, Bernard, 1994, The Manhattan Transcripts, London: Academy Editions Tschumi, Bernard, 2012, Architecture Concepts: Red is not a Color, New York: Rizzoli International Publications Tschumi, Bernard, 1986, La Case Vide : La Villette 1985 / Bernard Tschumi with essays by Jacques Derrida and Anthony Vidler ; interview by Alvin Boyarsky, London : Architectural Association Tschumi, Bernard, 1994, The Manhattan Transcripts, London: Academy Editions Tschumi, Bernard, 1994, The Manhattan Transcripts, London: Academy Editions Faucault, Michael, 1989, Madness and civilization: a history in the age of reason, London: Travistock/Rouledge Faucault, Michael, 1989, Madness and civilization: a history in the age of reason, London: Travistock/Rouledge Tschumi, Bernard, 2012, Architecture Concepts: Red is not a Color, New York: Rizzoli International Publications BeĚ dard, Jean-FrancĚ§ois; Canadian Centre for Architecture; Balfour, Alan, 1994, Cities of artificial excavation: the work of Peter Eisenman, 19781988, New York : Rizzoli International

Lawrence, Reeser Amanda and Schafer Ashley, 2006,¬ Praxis: Journal of Writing and Building, Issue 8: Re:Programming, Praxis Orlandini, Alain, 2004, La Villette 1971 – 1995: a History in Projects, Somogy editions d’art Tschumi, Bernard, 1987, Cinegram Folie le Parc de la Villette, Princeton: Princeton Architectural Press Orlandini, Alain, 2004, La Villette 1971 – 1995: a History in Projects, Somogy editions d’art Tschumi, Bernard, 1987, Cinegram Folie le Parc de la Villette, Princeton: Princeton Architectural Press Tschumi, Bernard, 1987, Cinegram Folie le Parc de la Villette, Princeton: Princeton Architectural Press Tschumi, Bernard, 2012, Architecture Concepts: Red is not a Color, New York: Rizzoli International Publications Lawrence, Reeser Amanda and Schafer Ashley, 2006, Praxis: Journal of Writing and Building, Issue 8: Re:Programming, Praxis Tschumi, Bernard, 1994, The Manhattan Transcripts, London: Academy Editions