Parc de la Villette
Bernard Tschumi
(written by: Jennifer Lenn)
Like any work of art, architecture is a tangible statement communicating an artist's message or idea. The work, in turn, develops its own character defined by its architectural elements. In many instances projects are heavily or completely influenced by its location, people, circulation and, most importantly, the context. In my last blog i wrote about Axel Schultes' response to the new German government on the Spree river. He used Spreebogenpark as a way to forever inscribe Germany's new identity on the banks of the Spree river. One thousand kilometers away in Paris, France, Bernard Tschumi breaks away from the tradition of referencing context and makes a bold red statement with his design for Parc de la Villette. Tschumi's goal for this park is clearly defined by its deep red structure and its obtrusively enormous scale. The 135 acre park sits on an abandoned plot of land previously used for the French national wholesale meat market and slaughterhouse on the Canal de l' Ourcq. Rather than recognizing the history of the site or the landscape of the site, Tschumi proposed a park that is completely man made and controlled lacking any organic elements or forms and with a complete disregard for the history of the site.
Tschumi's design was driven by a competition calling for a design that would respond to Paris' urban redevelopment of the 1980's. The brief for this competition called for an urban park for the 21st century. The contest was a result of the efforts made by President Mitterand to make Paris a more tourist influenced city. Out of more than 470 proposals, Tschumi's Parc de la Villette was most reminiscent in contemporary issues as well as the future while refusing to reference the history of the site. Tschumi developed an open yet direct path throughout the park. There are several open areas in which a more direct path will direct the viewer. From these spaces there are several ways by which a person may proceed through the site. Although the circulation alone may get slightly ambiguous, direction and orientation are always confirmed by the bright red coloring of the structure itself. Such circulation allows for "constant reconfiguration and discovery" throughout the park. Not only does the scale and coloring of the structure orient and define a place of discovery for the visitors but it also serves as a point of reference for the local tourists of the city.
While aiming to stand out with his big red mess of metal, Tschumi explained the reason to his madness as a result of three principles of organization; points, lines, and surfaces.
POINTS Thirty five points make up a grid that defines the spread of the 135 acre site, which Tschumi referenced as "follies". These follies are each different than the next and unique in their own place but given their repetitive nature, they are meant to give the visitors within the park a point of reference so not to get lost in the space.
LINES The lines within the park are just as random and various as the park itself. They are not governed by any means of organization or grid but rather are only directed by specified places of "interest" within the park.
SURFACES The surfaces of the park refer to the 85 acres of green space that scattered throughout the site. These surfaces are the part of the park given to the interaction of visitors with the park. The green spaces are dedicated to play, relaxation, socializing and typically to large open gatherings.
Parc de la Villette is a piece that stands out with its obnoxiously bright coloring, and excessive size. With complete disregard for the history of the site, Tschumi designed a park whose sole purpose is to orient tourists, being the bright red beacon of reference that it is. This is greatest bond it has to its location. Its size and material boasts the innovations of the 21st century and possibilities of what is to come in the future. As of now this park stands out as something abnormal and out of place but because it has put so much emphasis on the design of the future, it is only the future itself that will ever be able to define the normalcy of this work. Only time will tell the truth regarding the abnormality/normalcy of this project.
REFERENCES:
No comments:
Post a Comment