| Formatted contents note |
Introduction: Poetics 13 --<br/>Prologue : Advertisements & Transcripts 23 --<br/>20th Century Follies , 1979-1982 : Abstract Constructions 28 --<br/>A. Circular Autonomy & Dialogue --<br/>Carthage , Carthage National Museum , 2022: Garden and Crowns 48 --<br/>Alesia, MuseoParc , 2002-12 ( revision 2015 ): Dual Panoramic Fortification 60 --<br/>Geneva , World Health Museum , 2018: Compositions 88 --<br/>Shenzhen , Finance Culture Center , 2020: Chance Encounters over Nature 104 --<br/>Rolle , Center for Science and Entrepreneurship , 2017-25: Twin Circles 120 --<br/>B1. Abstract Superpositions (Concepts) --<br/>Doha , Presidential Hotel , 2013: Suspended Volumes 156 --<br/>Monaco , Tour Honoria , 2016: Tripartite Articulations 164 --<br/>Luxembourg , ArcelorMittal Headquarters , 2017: Autonomous Parts 176 --<br/>B2. Site - Specific Superpositions (Contexts) --<br/>Anyang , Yinxu Ruins Museum , 2019: The River and the Ruins 204 --<br/>Lausanne , Musee Cantonal des Beaux-Arts , 2010: Hovering Vista 216 --<br/>Shenzhen , OCT-LOFT Master Plan , 2011: Insertion/Densification 228 --<br/>Guangzhou , Guangzhou Museum , 2014: Directed Dialogue 240 --<br/>C. Analogical References --<br/>Paris , Cite Musicale , Ile Seguin , 2012: Ship , Lantern , Passage , Garden 264 --<br/>Tianjin , Binhai Science Museum , 2013-19: Industrial Cones 280 --<br/>Geneva , Caran d’Ache Headquarters , 2021: Colored Pencil Allusions 324 --<br/>Grottammare , A.N.I.M.A. Cultural Center , 2012-14: Courts and Facades 340 --<br/>D. Typological Urbanisms --<br/>Shenzhen , Xiangmihu Area , 2018: Singular Towers on Hanging Garden 376 --<br/>Beijing , 100KM2 City , 2018: Cluster Grid 388 --<br/>Budapest , Museum of Ethnography , 2016: Architectural Landscape 400 --<br/>Paris-Saclay , Biology – Pharmacy - Chemistry Center , 2015-22: Interlinked Chain 416 --<br/>E. Self-Preservation --<br/>Geneva , Vacheron Constantin Headquarters Extension , 2011-15: Thematic Variation 484 --<br/>Tourcoing , Le Fresnoy Extension , 2019: Material Continuations 504 --<br/>Paris , Folie P7 Café , Parc de la Villette , 2011: Material Hypervigilance 516 --<br/>Paris , Folie L4 HyperTent , Parc de la Villette , 2021: Material Difference 524 --<br/>France , Micro-folies , 2015: Combinatory Games 536 --<br/>F. Retrospective Concepts --<br/>New York , Thresholds , Museum of Modern Art , 1994: Architecture and Event 548 --<br/>Orleans , Chronomanifestes 1950-2010 , Frac Centre , 2013-14: Avant Garde Timeline 556 --<br/>Paris , Retrospective , Centre Pompidou , 2014: Concept and Notation I 564 --<br/>Basel , Retrospective , Swiss Architecture Museum , 2015: Concept and Notation II 580 --<br/>Shangai , Retrospective , Power Station of Art , 2016: Concept and Notation III 584 --<br/>Project Chronology (1974-2024) , Project List , Bibliography 591 --<br/> |
| Summary, etc. |
Event-Cities 5 is the fifth and final volume in the MIT Press series documenting recent built and unbuilt projects by renowned architect Bernard Tschumi. This volume expands on the theoretical preoccupations that have shaped Tschumi's work in practice and pedagogy. In this volume, Tschumi embarks on what he calls a "poetics" that addresses both the rational elaboration of work and the irrational eruption of inexplicable elements in architectural projects. How do chance, intuition, and analogy, among other elements, intersect with the logical play of concept, context, and program to generate innovative and informed design? Highlights of this volume include circular building projects, works with suspended gardens and floating rectangular masses, superposed structures created via surrealist tactics, an immense educational research complex in France that hovers between building and urban design, a museum in China made from intersecting conic shapes, and a project for a cultural center in Italy that is structured as an investigation into courtyards and facades. The book features nearly 30 projects developed over the last fifteen years and highlights Tschumi's longstanding interest not only in producing conceptual clarity, but in questioning architecture itself. -- Provided by publisher |