Bernard Tschumi is a renowned architect known initially for his theoretical work. In the 1970s while teaching at the Architectural Association school in London, he developed the "strategy of disjunctions," a theory that contemporary culture and architecture were best expressed through fragmentation rather than classical unity. Tschumi's work often references other disciplines like literature and film, demonstrating his view that architecture should participate in and question cultural norms and structures.

1. Architectural Design Theory.
Kartik Garg

2. Bernard Tschumi is widely recognized as one
of today’s foremost architects. First known as
a theorist,
In the 1970s he taught at the Architectural
Association school in London and during this
period he developed the ‘strategy of
disjunctions’, a theory based on his belief that
contemporary culture and architecture were
best expressed by fragmentation as opposed
to the classical ideal of unity.
Tschumi often references other disciplines in
his work, such as literature and film, proving
that architecture must participate in culture’s
polemics and question its foundations.

3.  Bernard commonly associated with deconstructivism.
 In 1970 Tschumi has argued that there is no fixed relationship between
architectural form and the events that take place within it.
 According to him Architecture’s role is not to express an extant social
structure , but to function as a tool for questioning that structure and revise
it.
 Architecture by nature is fundamentally useless, setting it apart from
building.

4.  The video gallery was the first work to
deal with the concept of the
envelope. It is about the movement
of the body as it travels through the
exhibition space and about the
enclosure, which is made entirely out
of glass held by clips, including its
vertical supports and horizontal
beams.

5.  The resulting structure gives priority to
the image. The monitors inside
provide unstable facades, while the
glass reflections create mirages that
suggest limitless space. At night, the
space becomes an ensemble of
mirrors and reflections

6.  Located at the foot of the
Acropolis, the site
confronted with sensitive
archeological
excavations, the presence
of the contemporary city
and its street grid, and the
Parthenon itself.

7. Combined with a hot climate in an
earthquake region, these conditions
moved us to design a simple and
precise museum with the
mathematical and conceptual clarity
of ancient Greece.

9.  During the early 1980s, after President
Mitterand took office, Paris was undergoing
an urban redevelopment as part of city
beautification, as well as making Paris a
more tourist influenced city. In 1982-3, the
Parc de la Villette competition was
organized to redevelop the abandoned
land from the meat market and
slaughterhouses that dated back to 1860
 La Villette has become known as an
unprecedented type of park, one based on
“culture” rather than “nature.”
 Unlike other entries in the competition,
Tschumi did not design the park in a
traditional mindset where landscape and
nature are the predominant forces behind
the design [i.e. Central Park]. Rather he
envisioned Parc de la Villette as a place of
culture where natural and artificial [man-
made] are forced together into a state of
constant reconfiguration and discovery.

10.  A system of dispersed “points”—the red
enameled steel folies that support different
cultural and leisure activities—is
superimposed on a system of lines that
emphasizes movement through the park
 La Villette could be conceived of as one
of the largest buildings ever constructed —
a discontinuous building but a single
structure nevertheless, overlapping the
site’s existing features and articulating new
activities
 It opposes the landscape notion of
Olmstead, widespread during the 19th
century, that “in the park, the city is not
supposed to exist.”
 Instead, it proposes a social and cultural
park with activities that include workshops,
gymnasium and bath facilities,
playgrounds, exhibitions, concerts, science
experiments, games and competitions

11. He designed a number of small experimental
constructions that he called ‘follies’, playing on
the double meaning of the French word folie as a
state of mental imbalance into the pavilion.