Bernard Tschumi is known for his involvement in deconstructivism. It is a style related to the use of unconventional methods to design structure. His unusual mannerisms are actually what sets his work apart. No matter how simple or complex the structure, Tschumi is the most creative architect in history and he does it with a creative hand without any loss of functionality. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an Original Essay With all great architects, it is important to consider their journey to better understand what influenced their lives and resulted in such ingenuity and creativity. Bernard was born in a small town, Lausanne, Switzerland. His father, Jean Tschumi, was a renowned architect who studied architecture in Paris. So it seems only natural that his father would be enthusiastic about occasionally taking him to construction sites on weekends. On the other side of his family, his French mother introduced him to literature and cinema. Naturally, one might assume that his father clearly had the greater impact, but Bernard was more interested in philosophy and literature in his early teens. On the contrary, he had lost interest in architecture because of his father, quite simply because he thought there was nothing more to learn. In fact, it was not until he was seventeen that he decided to become an architect. After visiting Chicago in the early 1960s, he began to see what the city could become. At the time, rather than individual buildings, the buildings were all twelve stories tall, making it appear as if they were all connected like a huge block of rock with a few holes to let in light. This is different from its home country where the building was relatively large. different heights. It was the different culture of this city, since he came from a small Swiss town, which aroused his curiosity. Due to family influences, he followed a traditional education and attended the Federal Institute of Technology in Zurich (ETH). This upbringing further highlighted how he wanted to do something different as he began to explore his interests. Graduating in 1969, he worked in 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. Parc de la Villette is a one hundred and thirty-five acre plot of land which includes the Ourcq Canal which runs through it. This land housed meat markets and slaughterhouses in the 1860s. In the midst of urban improvement in the 1980s, Paris organized an international competition to determine its future designer. They were looking for a design that was based on older eras, but instead considered modern and future issues. Tschumi considered three major organizing concepts: points, lines, and surfaces; they are unrelated systems that defy previous conventions of architecture. For the grid points, Tschumi designed red, abstract structures known as follies. Each madness began as a cube and was deconstructed according to the following rules of transformation: interruption, distortion, fragmentation, repetition and superposition. As a result, they provide excellent reference points in the park when visitors arewalk in the park, explore and interact with the environment. Personally, I think this is a very unique way to establish reference points in this huge park instead of using the surrounding buildings. Since the follies are equally spaced from each other, it would be easy to end up finding your way there; the interesting form of each madness would provide the viewer with an interesting experience as well as a good reference point. In fact, recently some of these follies have been naturally transformed into restaurants, information centers and offices in their strange forms. As for the lines, Tschumi decided it was best if they had no organization. Instead, the lines intersected, pointing to different points of interest. This makes a lot of sense because there will be points of interest that are generally more popular, having more exit and entrance roads would help smooth traffic flow. It's no surprise that millions of people visit Parc de la Villette. Out of one hundred and thirty-five acres, eighty-five of them were devoted to green space where people can relax, explore, and gather with friends and family. Personally, this is an important consideration to make when designing a park. There needs to be enough space for people to run around and breathe fresh air, instead of being cooped up where most of their daily lives take place. Through this work, the creative spark of this conception points to an early introduction to literature and cinema. In addition to the Follies as a place for exploration, Tschumi also designed ten themed gardens for activities such as relaxation and play. The Mirror Garden features twenty-eight mirrors arranged among maple and pine trees. With the seemingly random placement, unique and cool effects, such as a kaleidoscope, are generated, which can become a popular destination for a nature photo shoot. The Dunes Garden is designed to resemble a rolling landscape with windmills, representative of where these structures can 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 it's a mini-golf course in disguise. The Jardin de la Trellis contains numerous climbing vines and ninety fountains distributed among them. Among the scene, there are seven bronze sculptures which are made by my Jean-Maw Albert; it is easy to say that Tschumi was welcome in his collaboration to make this place a privileged place of discovery. This display appears to resemble a greenhouse tree with a light covering of leaves on top. The Bamboo Garden has an interesting layout compared to the rest of the park in terms of elevation; this garden is located six meters below the rest of the park. There are several aerial walkways and a trail that crosses this piece of land, providing people with unique perspectives of the bamboo forest when walking through this wonderful landscape. It is completed by a cylindrical water fountain designed by Bernard Leitner. This gives an auditory effect of flowing water like in a forest, in addition to the beautiful visual effect. The fourth on the list is the Jardin des Votiges. Located here is a space where people can play with different types of moving structures, increasing the realm of imagination of what is possible. Continuing on, Le Jardin des Isles (Le Jardin des Îles) has a distinctive marble path which is a combination of black and white that runs through different trees like conifers, oaks and pines. The Garden of Balance contains kitesmetal which symbolize immense birds hovering in the vegetation. This view emphasizes the importance of the ecosystem, as the interaction of plants and animals is vital for its survival, and the true value of nature. The Garden of Childhood Fears, that’s what it looks like. Through the alley in the forest of silver birch and blue spruce, strange and frightening music plays, giving the impression that something is hidden and gives chills when passing through it. One of the most famous gardens is Le Jardin du Dragon. Eighty meters longA dragon-shaped device with a slide that extends from the dragon's mouth to the ground provides families with long periods of playtime. This type of structure allows children to develop their imagination in a creative way, allowing them to enter their fantasy world. The style of the Garden of Shadows appears to be the peaceful integration of black and white tiles that serve as a path of exploration. Mixing both 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 or meaning, this type of thinking is what makes architecture interesting. Breaking conventions, questioning previous practices and re-evaluating old ways are some of the methods Tschumi uses to create new and innovative structures. Another structure often mentioned is the Alésia Museum located in Burgundy, France. This building is used to commemorate an important history of France, most notably the battle between Julius Caesar and the Gauls in 52 BC. There are no traces of a battle, but the complex has recreated battle scenes and an interpretation of the medieval town located in a valley. The design included two different but similar buildings separated by a kilometer from each other. The first is a museum located where the Gauls were positioned during the siege. They are located at the top of the hill overlooking the city. The material chosen for this structure was stone; this was made to resemble the city's buildings. Inside this building, there is a circular staircase that follows the perimeter of the building, slowly sloping toward the top. Matching the shape of the structure, it maximizes internal space and gives viewers a sense of immense beauty. The posts that support the structure are also arranged in a seemingly random manner, but chaos also lends itself to beauty. Completed in 2015, the museum focused on the artifacts found at the site. This giant sixty thousand square foot museum gives a more realistic view of what it was like at the time; you can learn the most by being immersed in the environment. The second of these structures is a visitor center located in the fields below the town. It was located where the Romans were positioned. The seventy thousand square foot structure is made of wood to resemble Roman fortifications as they besieged the French. More precisely, several rows of different widths surround the building. The rows alternate with right-leaning wood in one row and left-leaning wood in the other. This design gives it a simple aesthetic, leaving viewers in shock as soon as the building comes into view. Additionally, the roof of the visitor center has a very unique design. With a garden of trees and grass, the top of the building is camouflaged into the surrounding areas, which would also resemble how the Romans had to fight to gain an advantage over the French. Different from the museum, the visitor center would present the events and consequences of theBattle of Alesia. By delving further into the historical aspect, the exhibitions are intended to attract the attention of a wider audience, including the media and different programs. Besides the difference in materials, these two buildings are very similar. Both have simple designs: a simple cylindrical figure. Both would also offer a three hundred and sixty degree view, so the public could see the different perspectives of historical times. Both buildings are designed so that the structure can blend into the natural environment, a juxtaposition of natural and man-made elements peacefully coexisting. This helps focus attention on the historical events that took place and pay tribute. This building is a remarkable example of Bernard's attention to the environment without sacrificing functionality. Not wanting to disturb the environment, he integrates the building well into the environment. As previously mentioned, Tschumi doesn't just have standing structures in France. In Manhattan, New York, a structure called the Blue Residential Tower stands out above the buildings. For the Lower East Side area, this is the first building with a 24-hour doorman as well as cold storage for food deliveries. In fact, this is Tschumi's first residential skyscraper, but that doesn't make it any less unique when his work is examined as a whole. At first glance, from the outside, this building looks very strange. There are different shades of blue glass (4000 individual pieces) placed randomly it seems. In fact, Tschumi had another point of view if you look a little deeper. Tschumi saw the changing identity of a community. Not too happy with the generic towers sprouting up in the community, he takes inspiration from what the Lower East Side once was: old, dilapidated lower-class buildings and rusting infrastructure, including bridges. More precisely, the pixelated windows represent the various communities united to form one. Digging deeper into the appearance of the building, one is surprised to find that it is impossible to look from the top of the building down using a straight line like most buildings do. The structure seems to bend up and down, as if forced to confine itself in a space that has become too large. In fact, from certain angles, the building seems to want to tip over as soon as a movement causes the building to become unbalanced, due to the arrangement of the blue hues. In my honest opinion, this mosaic of blue is both bustling and calming in a crowd of standard skyscrapers, beautifying the surroundings of the Lower East Side. In fact, upon closer inspection, it looks a lot like one of Mondrian's paintings, "Broadway Boogie Woogie." He also drew inspiration from other sources, not only museums but also gutter (art). The blue color of the glass is also reminiscent of the cheap plastic panels still found in some of the old stores in the East Village. This style is very different from other luxury towers in the area, where the look is more conventional and not unique. Hearing about the strict zoning constraints and business requirements imposed by New York only makes his work even more phenomenal and impressive. The interior of the thirty-two apartment complex is no small feat either. They can be divided into two different types of apartments: standard and premium. Standard apartments have pebble floors and bamboo slabs. They are equipped with metal cabinets and white stone countertops. The bathrooms are tiled with white tiles. This design is elegant and complete but.