Bernard Tschumi is known for his involvement with deconstructivism. This is a style related to using unconventional ways to design the structure. His unusual ways are actually what sets his work apart. However simple or complex the structure may be, Tschumi is the most creative architect in all of history and does so with a creative hand without any loss of functionality. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay With all great architects, it is important to consider their background to better understand what influenced their lives that led to such ingenuity and creativity. Bernard was born in a small town, Lausanne, Switzerland. His father, Jean Tschumi, was a well-known architect who had studied architecture in Paris. It therefore seems natural that his father is keen to take him to construction sites on weekends from time to time. On the other side of his family, his French mother had introduced him to both literature and cinema. Of course, one might assume that his father clearly had the biggest impact, but Bernard was more interested in philosophy and literature during his early adolescence. On the contrary, he had become disinterested in architecture because of his father, simply because he thought there was nothing left to learn. In fact, it wasn't until he was seventeen that he decided he wanted to be an architect. After visiting Chicago in the early 1960s, he began to see what a city could become. At that time, rather than individual buildings, the buildings were all twelve stories tall, so it looked like they were all connected like a huge block of rock with some holes to let in the light. This is different from his native country where the building had relatively different heights. It was the different culture behind this city, as he came from a small Swiss town, that piqued his curiosity. Due to family influences, he had a traditional education, attending the Federal Institute of Technology Zurich (ETH). This education further highlighted how he wanted to do something different when he began to explore his interests. Graduating in 1969, he continued to work in both New York and Paris, often flying between the two cities every few weeks. In addition to being an architect, he has taught at several universities such as the Architectural Association of London, Cooper Union and Princeton. He was dean of the Graduate School of Architecture at Columbia in New York from 1988 to 2003. One of his most famous works is the Parc de la Villette located in Paris. The Parc de la Villette is a one hundred and thirty-five acre piece of land which includes the Canal de l'Ourcq which runs through it. This plot of land was home to meat markets and slaughterhouses in the 1860s. Turning to city beautification in the 1980s, Paris held an international competition to determine its future designer. They were looking for a design that was based on ancient times but instead contemplated modern and future issues. There are three main organizational concepts that Tschumi took into account: points, lines and surfaces; these are unrelated systems that defy previous conventions regarding architecture. For the grid points, Tschumi designed red abstract structures known as follies. Each madness began as a cube and was deconstructed through the following transformation rules: interruption, distortion, fragmentation, repetition and superposition. As a result, they serve as great landmarks in the park as visitors stroll through the park exploring and interacting with the environment. I personally think this is a very unique way ofcreate landmarks in this huge park instead of using the surrounding buildings. Since the follies are equidistant, it would be easy to end up wandering into one; the interesting shape of each madness would allow the viewer an interesting experience as well as a good reference point. Indeed, recently, some follies have been transformed into restaurants, information centers and offices in their strange natural forms. As for the lines, Tschumi decided that it was better for them to have no organization at all. Instead, the lines intersected each other, pointing towards different points of interest. This makes a lot of sense because there will be points of interest that will be generally more popular, having more roads out and in would allow the flow of traffic to be much smoother. It's no surprise that millions of people come to visit the Parc de la Villette. Of the one hundred and thirty-five acres, eighty-five were dedicated to green spaces where people can relax, explore and gather with friends and family. Personally, this is a great consideration to make when designing a park. There needs to be plenty of space for people to run around and breathe fresh air instead of being mostly indoors where they spend most of their daily lives. Through this work, the creative spark of this project points towards an early introduction to both literature and cinema. In addition to the follies as a place for exploration, Tschumi also placed ten themed gardens for activities such as relaxing and playing. Le Jardin des Mirrors (The Garden of Mirrors) includes twenty-eight mirrors placed among maples and pines. With the seemingly random positioning, fantastic unique effects such as kaleidoscope are generated, which can become a popular destination for a photo shoot in the outdoors. The Dune Garden is designed to resemble a hilly landscape with windmills which is representative of where these structures might be found. This area is a perfect way for children and adults to run around and feel immersed in the environment; this area feels like a mini golf course in disguise. Le Jardin de la Trellises (The Garden of Trellises) contains many climbing vines with ninety fountains scattered among them. In the scene there are seven bronze sculptures made by Jean-Maw Albert; It's easy to say that Tschumi was welcome to collaborate in making this an ideal place for discovery. This presentation appears to resemble a greenhouse tree with a light layer of leaves on top. Le Jardin des Bambous (The Bamboo Garden) has an interesting layout compared to the rest of the park regarding altitude; this garden is located six meters below the rest of the park. There are several elevated walkways and a trail that runs through this piece of land, giving people unique perspectives of the bamboo forest as they walk through this beautiful scenery. It is complete with a cylindrical fountain designed by Bernard Leitner. This provides an auditory effect of flowing water as in a forest, in addition to the beautiful visual effect. Fourth on the list is le Jardin des Votiges (The Garden of Movement). Here is an area where people can play with different types of movable structures, increasing the imagination's realm of what is possible. Continuing, Le Jardin des Isles (The Garden of the Islands) has a distinctive marble path that is a combination of black and white that passes through several trees such as conifers, oaks and pines. Le Jardin des Equilibres (The Garden of Balance) contains metallic kites which are used to symbolize enormous birds circling among the vegetation. This vision emphasizes the importance of the ecosystem since the interactionbetween plants and animals is vital to its survival and how precious nature truly is. Le Jardin des Frayeurs Enfantines (The Garden of Childhood Fears) is just as it sounds. Through the walkway in the forest of silver birch and blue spruce, eerie and scary music plays, giving the feeling that something is hidden and giving chills while walking. One of the most famous gardens is Le Jardin du Dragon (the Dragon Garden). A length of eighty metersThe dragon-shaped apparatus with a slide from the dragon's mouth to the ground offers families long playtimes. This type of structure allows children to creatively expand their imagination, allowing them to enter their own fantasy world. The style of Le Jardin des Ombres (The Garden of Shadows) appears to be the peaceful integration of black and white tiles that serve as a path for exploration. With a mix of structure and freedom, it shows that there is beauty in the combination of structure and anti-structure, natural and artificial. Although often criticized as something without structure and meaning, this type of thinking is what makes architecture interesting. Breaking down conventions, questioning previous practices, and reevaluating previous methods are some of the ways Tschumi goes about creating new and innovative structures. Another structure that is often noticed is the Alesia Museum located in Burgundy, France. This building is used to commemorate the important history of France, more specifically the battle between Julius Caesar and the Gauls in 52 BC There are therefore no traces of battle, but the complex has recreated battle scenes and an interpretation of the medieval city that was located in a valley. The project called for two different but similar buildings separated one kilometer apart. The first of which is a museum located where the Gauls positioned themselves during the siege. They are located at the top of the hill above the city. The material chosen for this structure was stone; this was done to resemble city buildings. Inside this building there is a circular staircase that follows the perimeter of the building, slowly sloping upwards. Following the shape of the structure, it maximizes the internal space and gives viewers a sense of immense beauty. Even the poles that support the structure are arranged in an apparently random way, but even chaos lends itself to beauty. Completed in 2015, the museum focused on the artifacts found at the site. This sixty thousand square foot museum behemoth offers a more realistic view of what it was like during that time; you are able to learn more while immersed in the environment. The second of these structures is a visitor center located in the fields below the town. This was located where the Romans were positioned. The seventy thousand square foot structure is made of wood to resemble the Roman fortifications as they besieged the French. In more detail, there are several rows of different widths that wrap around the building. The rows alternate with right-leaning wood in one row and left-leaning wood in the other. This design gives a simple aesthetic appearance, leaving viewers shocked as soon as the building is seen. Furthermore, the roof of the visitor center has a very unique design. With a garden of trees and grass, the top of the building blends in with its surroundings, which would also resemble the way the Romans had to fight to gain an advantage over the French. Unlike the museum, the visitor center would showcase the events and aftermath of the Battle of Alesia. By delving more into the historical aspect, the exhibitions aim to attract the attention of a wider audience, including the media and various programmes. Beyondto the difference in materials, both buildings are very similar. Both have simple designs: a simple cylindrical figure. Both would also provide a three hundred and sixty degree view, so that the public can see the different perspectives of historical times. Both buildings are crafted so that the structure is able to blend into the natural environment, a juxtaposition of natural and man-made elements coexisting peacefully. This allows us to focus on the historical events that occurred and pay our respects. This building is a key example of Bernardambiente's focus without sacrificing functionality. Not wanting to disturb the surroundings, it integrates the building well into the environment. As mentioned above, Tschumi does not only have facilities in France. In Manhattan, New York, a structure called the Blue Residential Tower rises above the buildings. For the Lower East Side region, this is the first building to have a 24-hour doorman and cold storage for incoming food deliveries. Indeed, this is Tschumi's first residential skyscraper, but this does not make it any less unique building when examining his work as a whole. At first glance from the outside, this building is very strange. There are different shades of blue glass (4000 individual pieces) placed haphazardly or so it seems. In fact, Tschumi had another vision if you look a little deeper. Tschumi saw the identity of a community change. Not too happy with the generic towers popping up in the community, he draws inspiration from what the Lower East Side used to be: old, dilapidated lower-class buildings and rusting infrastructure, including bridges. More specifically, the pixelated windows represent the different communities all coming together as one. Delving further into the appearance of the building, one is surprised to find that it is impossible for one to look from top to bottom using a straight line as most buildings do. The structure seems to bend inwards from top to bottom, as if it were forced to confine itself to a space that is now too large. In fact, from certain angles, the building appears to tip over as soon as a shift causes the building to no longer balance, all due to the arrangement of the blue hues. In my honest opinion, this patchwork of blue is both frenetic and calming in a crowd of standard skyscrapers, which beautify the general surrounding area of ​​the Lower East Side. In fact, upon closer inspection, it looks very similar to one of Mondrian's paintings, “Broadway Boogie Woogie.” He also drew inspiration from other sources, taking them not only from museums but also from sewers (art). The blue color of the glass is also reminiscent of the cheap plastic signs still found in some of the old East Village stores. This style is very different from other luxury towers in the area, where the look is more conventional and not unique. Hearing about New York's strict zoning restrictions and business requirements only makes his work even more phenomenal and awe-inspiring. The interior of the thirty-two apartment complex is no small feat either. They can be divided into two different types of apartment: standard and superior quality. Standard apartments consist of cobblestone floors and bamboo slabs. They are equipped with metal cabinets and white stone shelves. The bathrooms are tiled with white tiles. This design is elegant and complete yet simple; there's not too much clutter on the eyes. Higher-quality apartments have stone and palm floors; the bathrooms are glass tiled. The appearance that these flats have is more elegant and robust. With the design of the building, the apartments each seem to have the.