In Anthony Vidler’s analysis of the Parc de la Villette in The Architectural Uncanny, Vidler uses the concept of ‘uncanny’ as a metaphor
for the interpretation of contemporary models in architecture. According to Vidler, the body analogy has taken three forms within
architectural history: (1) the classical (literal) projection, (2) the eighteenth century’s idea of the sublime that objecties the physical
and mental state of the body, (3) the modern idea that the building has bodily characteristics (Vidler, 1992). It is clear that Vidler’s third
form is clearly present in Tschumi’s Parc de la Villette. This is due primarily due to the fact that the park’s ‘dismembered’ body is incomplete
in its formation and realization. La Villette becomes more of an experiential eld that is open to multiple interpretations, dislocations
and associations and according to Vidler, is a body in a state of self-acknowledged dispersion (Vidler, 1992).