Bernard Tschumi Architects design buildings, bridges, and plazas that blur the boundaries between art, society, symbol, and function.
They are responsible for some of the most staggeringly original and unforgettable — and sometimes controversial — edifices and public projects, both built and imagined, in the modern world. From the 1983 high-profile urban sculptural experiment of Paris’ Parc de la Villette, to the more recent Blue residential tower watching over New York’s Lower East Side, Tschumi’s progressive vision of fractured, expressive architecture embraces new materials, vibrant color, and the element of surprise.
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After inevitable delays — including the discovery of an ancient Athenian city under the building site — The New Acropolis Museum is open for business, packing in visitors to the historic but semi-rundown neighborhood of Makrygianni in Athens. The thoughtful design by former Columbia architecture dean Bernard Tschumi and team positions the 226,000 square foot museum over the footprint of the long-ruined city; the exhibition space — ten times larger than that of the previous edifice — provides what could someday be a permanent home for the hotly contested Elgin Marbles and other looted artifacts. Hellenic architecture porn after the jump.
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Yesterday the architecture world’s Preacherman, Jonathan Glancey, weighed in on the “what is good design” debate. Glancey — architecture critic for the Guardian — is fed up with computers, dammit. “Many of our new buildings and streetscapes feel increasingly digital rather than real,” he wrote on Building Design. It’s an argument people have been making for years — and it’s wrong. Read More »
