Bernard Tschumi, Study for the folio La Case Vide, La Villette, #3 from the K Series, 1985. © Bernard Tschumi. From the Collection of the Alvin Boyarsky Archive.

伯納德．初米為一場在AA倫敦建築聯盟舉辦的《盒裝》一展製作了這些繪圖，內容呈現他為巴黎的拉維列特公園設計獲獎方案的概念發想，並收錄在隨展發行的AA作品集系列。該展開幕時，正逢拉維列特公園的建造工程開工動土之際。

透過點、線、面所構成的網格幾何體系，特別顯現出其中一座座名為「folly」的空場結構。這些folly隨著公園訪客的需求而衍生出使用方式，其突出的造型結構和鮮紅色的外觀，呼應蘇聯構成主義，和公園用地前身為一座屠宰場的記憶。此外，初米用具有瘋狂、幻覺、狂熱含意的「folie」（folly的法文拼法）一詞來為這些構築物定名，其中隱藏著另一層寓意──在顛覆所有關於重要性和意義的概念的同時，這個語言的參照也反映出當時後結構主義的哲思趨勢。此外，將未來公園使用者的模擬照片結合在圖稿中的做法，反映出初米對於電影、表演與裝置藝術的熱愛。

In these studies, Bernard Tschumi reflected on his winning competition scheme for the Parc de la Villette in Paris. They were made for an exhibition at the AA titled La Case Vide and the related volume in the AA Folio series (on view in this section), which coincided with the commencement of the park’s construction. 

The geometry of points, lines, and surfaces gives particular prominence to the series of empty structures, called follies, that could be freely appropriated by park visitors and that recall, with their accentuated structural elements and bright red color, both Russian Constructivism and the history of the property itself, which was once the site of a slaughterhouse. Another meaning is implied in Tschumi’s spelling of the word folie, a wordplay that suggests madness, delusion, and mania. In destabilizing all notions about signification and meaning, this linguistic reference mirrors the poststructuralist philosophical trend of the time. The incorporation of photographs of potential park users evokes Tschumi’s allegiance to cinematic, performance, and installation art.

註：此處的「folly」（複數為follies，法文為folie）在中文譯為瘋狂建築／奇想構築物／瘋狂物／裝飾性建築等，而folly一詞在建築學中又指無實際用途的裝飾性構築物，多半出現在西方的公園或私家花園。