The ethical and political imperatives that inform his work emphasize the establishment of a proactive architecture which non-hierarchically engages balances of power through programmatic and spatial devices.

The experience of the May 1968 uprisings and the activities of the Situationist International oriented Tschumi's approach to design studios and seminars he taught at the Architectural Association in London during the early 1970s.

Tschumi adapted Eisenstein's diagrammatic methodology in his investigations to exploit the interstitial condition between the elements of which a system is made of: space, event, and movement (or activity).

Tschumi's work responded as well to prevalent strands of contemporary architectural theory that had reached a point of closure, either through a misunderstanding of post-structuralist thought, or the failure of the liberal/leftist dream of successful political and cultural revolution.

He demands a glorification of architectural uselessness in which the chaos of sensuality and the order of purity combine to form structures that evoke the space in which they are built.

Tschumi's winning entry for the 1982 55-hectare Parc de la Villette competition in Paris became his first major public work and made possible an implementation of The Manhattan Transcripts and The Screenplays.

In those projects, Tschumi suggested that habitual routines of daily life can be challenged by a spectrum of design tactics ranging from shock to subterfuge.

The extreme limit-conditions of architectural program became criteria to evaluate a building's capacity to function as a device capable of social organization.

Through these means architecture becomes a frame for "constructed situations," a notion informed by the theory, city mappings and urban designs of the Situationist International.

Responding to the absence of ethical structure and the disjunction between use, form, and social values by which he characterizes the postmodern condition, Tschumi's design research encourages a wide range of narratives and ambiences to emerge and to self organize.

In this way, Tschumi's work is ethologically motivated, in the sense that Deleuze uses the term to propose an emergent ethics that depends on a reevaluation of self/identity and body.

The museum offers a seemingly placid stance, focused on the impressive Athenian light and landscape while remaining precise in imagination and sophisticated in form.

Most currently, the Greek mathematician Nikos Salingaros claims that the New Acropolis Museum clashes with the traditional architecture of Athens and continues to unnecessarily threaten historical buildings nearby.

New York Times critic Nicolai Ouroussoff[9] "A geometrical marvel dedicated to the celebration of antiquity…a purposefully, rather than gratuitously, dynamic building."