The manhattan transcripts. Book in Focus: The Manhattan Transcripts by Bernard Tschumi 2022-10-12
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The Manhattan Transcripts are a series of architectural drawings and notations created by Bernard Tschumi, a Swiss architect and theorist, in the 1970s. These transcripts are a collection of architectural designs that Tschumi created as a way to explore and challenge traditional architectural thought and practice.
One of the most notable features of the Manhattan Transcripts is their use of notation and diagrams to convey complex architectural ideas. These notations are inspired by the language and notation of music and dance, and they are meant to be read and interpreted in a similar way. For example, the transcripts use lines and dots to represent the movement of people through space, and they use geometric shapes and symbols to represent different architectural elements, such as walls and doors.
The Manhattan Transcripts also challenge traditional notions of space and form in architecture. Tschumi argues that architecture should not be limited to the creation of static, physical structures, but should instead be seen as a constantly evolving and dynamic process. To illustrate this idea, the transcripts often depict the movement of people and objects through space, rather than focusing solely on the physical structure of the building.
In addition to their innovative use of notation and their focus on movement and dynamism, the Manhattan Transcripts are also notable for their avant-garde aesthetic. The transcripts often feature bold, abstract designs and unconventional forms, which were intended to challenge traditional architectural aesthetics and break with convention.
Overall, the Manhattan Transcripts represent a significant contribution to the field of architecture and have had a lasting impact on the way architects think about and approach their work. Tschumi's use of notation and emphasis on movement and dynamism has influenced a generation of architects and continues to be a source of inspiration for contemporary practitioners.
Analysis Of The Manhattan Transcripts By Bernard Tschumi
Bernard Tschumi. The Manhattan Transcripts Project, New York, New York, Episode 1: The Park. 1976
Known around the world as the creator of Parc de la Villette and one of the pioneers in the field of deconstructivism, Bernard Tschumi is also idolized to be one of the most vocal and opinionated architectural theorists of our times. Each border becomes a space with the events that it contains, with the movements that transgress it. Gallery label from 9 + 1 Ways of Being Political: 50 Years of Political Stances in Architecture and Urban Design, September 12, 2012—March 25, 2013. Using film techniques such as the jump cut and the tracking shot to go beyond architectural conventions of representation, Tschumi proposes an architecture of difference and opposition rather than of synthesis and totality. Spaces, movements, events are contracted into only fragments absolutely necessary to outline the overall structure.
Tschumi takes the Manhattan Transcripts program to formulate a plot based around a murder. The cameras film the image reflected on the mirror, the body of the performer and possibly his eyes on the mirror. Artist like Dan Graham, Bruce Nauman and Bruce McLean, all show an extensive representation of events and movement within their work. An extension from the drawn conventions of choreography, it attempts to eliminate the preconceived meanings given to particular actions so as to concentrate on their spatial effects: the movement of bodies in space. Each event with in the Transcripts is represented by a photo, in an attempt to get to get the viewer closer to an objectivity which is often missing from architectural programs. This continues up and down the body and then the camera is exchanged and the process repeated. Events have an independent existence.
The compositional implications of an axonometric an abstract projection according to the rules of descriptive geometry are, as a result, widely different from those of a perspective with a single vanishing point. The insertion of movement into the overall architectural scheme meant that Tschumi had to breaking down some of the traditional components of architecture which permitted the independent manipulation of each new part according to narrative or formal considerations. It further carries us through the veins of 42nd Street in Manhattan along with the thrilling friction of a tumultuous relationship. For example, one enters a building, one passes through it, one climbs stairs, one goes from one space to another, and that network of routes being what really forms architecture. The insertion of movement into the overall architectural scheme meant that Tschumi had to breaking down some of the traditional components of architecture which permitted the independent manipulation of each new part according to narrative or formal considerations. For example, the plans of the Park, the section of the Street, the axonometrics of the Tower, the perspectives of the Block all follow and sometimes question the internal logic of their modes of representation.
Their implicit purpose has to do with the twentieth-century city. The work does not openly concur with any contemporary movements or practice by name but leaves the reader pondering about the fact that the spaces as they exist in this age and time, may perhaps lack continuity and dialogue that comes from the marriage of buildings, movements, and events. On his return to painting, the experience played a big role is his later work. They establish a memory of the preceding frame, of the course of events. Architecture, then, is only an organism passively engaged in constant intercourse with users, whose bodies rush against the carefully established rules of architectural thought.
Book in Focus: The Manhattan Transcripts by Bernard Tschumi
Second, the framed material, a place that only questions, distorts, compresses, displaces. The Pleasure of Architecture. Events can encompass particular uses, singular functions or isolated activities. However precise and generative they may have been, each implies a logical reduction of architectural thought to what can be shown. Architecture, then, is only an organism passively engaged in constant intercourse with users, whose bodies rush against the carefully established rules of architectural thought. In literature, they belong to the category of the narrative as opposed to the descriptive. Also: the inevitable intrusion of bodies into the controlled order of architecture.
“The Set and the Script” in Architecture: The Manhattan…
Traditional means of architectural representation plans, sections, perspectives, axonometrics have a number of limitations. They include moments of passion, acts of love and the instant of death. This allowed Tschumi to take the argument to the next level and introduce and advance the notion of program, and then at a later stage to develop it more precisely. Publication excerpt from an essay by Tina di Carlo, in Matilda McQuaid, ed. To this aim, they employed a particular structure involving photographs that either direct or "witness" The dominant theme of The Transcripts is a set of disjunctions among use, form, and social values; the non-coincidence between meaning and being, movement and space, man and object was the starting condition of the work.
Entering a building: an act that violates the balance of a precisely ordered geometry do architectural photographs ever include runners, fighters, lovers? The Manhattan Transcripts do portray is interesting and unique way for looking at a set of drawings with a very interesting program to follow which is hard to tie together but enjoyable to research. . The drastic change of perceptions caused by the fall is used to explore different spatial transformations and their typological distortions. Their chief characteristic is the sequence, a composite succession of frames that confronts spaces, movement, and events, each with its own structure and inherent set of rules. On his return to painting, the experience played a big role is his later work. Eventually, the book breaks its sequence to take us through the towering heights encapsulated within Manhattan whilst intermixing rigorous users such as dancers and acrobats, and army cadets that eventually break out into a flurry of colours that are well associated with the works of Bernard Tschumi. He made a series of large works on paper inspired by some magazine photographs of Chinese acrobats.
Bernard Tschumi. The Manhattan Transcripts Project, New York, New York, Episode 4: The Block,. 1980
Tschumi takes the Manhattan Transcripts program to formulate a plot based around a murder. The Transcripts present three disjoined levels of reality at the same time: i The world of objects, composed of buildings abstracted from maps, plans, photographs; ii The world of movements, which can be abstracted from choreography, sport, or other movement diagrams; and iii The world of events, which is abstracted from news photographs. A particular case is explored in the forth episode of the Transcripts. Rarely are they purely the consequence of their surroundings. MT 1 is linear, while MT 2 only appears to be so; MT 3 depicts two unrelated moments, while MT 4 exhausts the narrative, meaning it deconstructs programs in the same way that it deconstructs forms and movements. But it had been extensively documented in other disciplines such as dance, certain sports, and film theory, as well as in the work of a number of performance artists.
Please feel free to write us if you notice misattributions or wish something to be removed. They establish a memory of the preceding frame, of the course of events. Where as representation of movement and event highlighted by the artist Dan Graham and Bruce McLean show with little interpretation what the main goal they are trying to present. The Manhattan Transcripts do portray is interesting and unique way for looking at a set of drawings with a very interesting program to follow which is hard to tie together but enjoyable to research. The Transcript achieves this is some areas, the event is only clearly represented within the photographs but fail to be clear within the drawings. Both share a frame by frame technique, spaces are not only composed, but it is also developed from shot to shot so that the final meaning of each shot depends on its context. Where as representation of movement and event highlighted by the artist Dan Graham and Bruce McLean show with little interpretation what the main goal they are trying to present.
