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<title>Deconstructivism</title>

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<span id="openzim-page-title" class="mw-page-title-main"><span class="mw-page-title-main">Deconstructivism</span></span>

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</style><div role="note" class="hatnote navigation-not-searchable">This article is about the architectural style or movement known as deconstructivism. For the philosophical idea, see <a href="Deconstruction" title="Deconstruction">Deconstruction</a>. For other uses, see <a href="Deconstruction_(disambiguation)" class="mw-disambig" title="Deconstruction (disambiguation)">Deconstruction (disambiguation)</a>.</div>

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</style><table class="infobox vevent"><tbody><tr><th colspan="2" class="infobox-above" style="text-align:center;background-color:#ededed;">Deconstructivism</th></tr><tr><td colspan="2" class="infobox-image"><div class="infobox-caption"><a href="Walt_Disney_Concert_Hall" title="Walt Disney Concert Hall">Walt Disney Concert Hall</a> by Frank Gehry, <a href="Los_Angeles%2C_California" class="mw-redirect" title="Los Angeles, California">Los Angeles, California</a></div></td></tr><tr><th scope="row" class="infobox-label">Influences</th><td class="infobox-data"><a href="Constructivist_architecture" title="Constructivist architecture">Constructivist architecture</a> <br> <a href="Post-structuralist" class="mw-redirect" title="Post-structuralist">Post-structuralist</a> philosophy</td></tr></tbody></table>

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</style><table class="sidebar nomobile nowraplinks"><tbody><tr><th class="sidebar-title" style="background:#66ccff;"><a href="Postmodernism" title="Postmodernism">Postmodernism</a></th></tr><tr><td class="sidebar-above" style="font-style:italic;font-weight:normal;">

Preceded by <a href="Modernism" title="Modernism">Modernism</a></td></tr><tr><th class="sidebar-heading" style="background:#aaddff;">

<a href="Postmodernity" title="Postmodernity">Postmodernity</a></th></tr><tr><td class="sidebar-content hlist">

<ul><li><a href="Deconstruction" title="Deconstruction">Deconstruction</a></li>

<li><a href="Hypermodernity" title="Hypermodernity">Hypermodernity</a></li>

<li><a href="Hyperreality" title="Hyperreality">Hyperreality</a></li>

<li><a href="Posthumanism" title="Posthumanism">Posthumanism</a></li>

<li><a href="Post-structuralism" title="Post-structuralism">Post-structuralism</a></li></ul></td>

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Fields</th></tr><tr><td class="sidebar-content hlist">

<ul><li><a href="Postmodernist_anthropology" title="Postmodernist anthropology">Anthropology</a></li>

<li><a href="Post-processual_archaeology" title="Post-processual archaeology">Archaeology</a></li>

<li><a href="Postmodern_architecture" title="Postmodern architecture">Architecture</a></li>

<li><a href="Postmodernist_school_(criminology)" title="Postmodernist school (criminology)">Criminology</a></li>

<li><a href="Postmodern_dance" title="Postmodern dance">Dance</a></li>

<li><a href="Postmodern_feminism" title="Postmodern feminism">Feminism</a></li>

<ul><li><a href="Postmodern_film" class="mw-redirect" title="Postmodern film">Television</a></li></ul></li>

<li><a href="Postmodern_literature" title="Postmodern literature">Literature</a> (<a href="Postmodern_picture_book" title="Postmodern picture book">Picture books</a>)</li>

<li><a href="Postmodern_music" title="Postmodern music">Music</a></li>

<li><a href="Postmodernism_(international_relations)" class="mw-redirect" title="Postmodernism (international relations)">International relations</a></li>

<li><a href="Postmodern_philosophy" title="Postmodern philosophy">Philosophy</a>

<ul><li><a href="Post-anarchism" class="mw-redirect" title="Post-anarchism">Anarchism</a></li>

<li><a href="Post-Marxism" title="Post-Marxism">Marxism</a></li>

<li><a href="Postpositivism" title="Postpositivism">Postpositivism</a></li></ul></li>

<li><a href="Postmodern_psychology" title="Postmodern psychology">Psychology</a></li>

<li><a href="Postmodernism_in_political_science" title="Postmodernism in political science">Political science</a></li>

<li><a href="Postmodern_theatre" title="Postmodern theatre">Theatre</a></li>

<li><a href="Postmodern_theology" title="Postmodern theology">Theology</a> and <a href="Postmodern_religion" title="Postmodern religion">Religion</a></li></ul></td>

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Reactions</th></tr><tr><td class="sidebar-content hlist">

<ul><li><a href="Criticism_of_postmodernism" title="Criticism of postmodernism">Criticism</a></li>

<li><a href="Metamodernism" title="Metamodernism">Metamodernism</a></li>

<li><a href="Post-postmodernism" title="Post-postmodernism">Post-postmodernism</a></li>

<li><a href="Remodernism" title="Remodernism">Remodernism</a></li></ul></td>

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<p><b>Deconstructivism</b> is a <a href="Postmodern_architecture" title="Postmodern architecture">postmodern architectural</a> movement which appeared in the 1980s. It gives the impression of the fragmentation of the constructed building, commonly characterised by an absence of obvious harmony, continuity, or symmetry.<sup id="cite_ref-FOOTNOTETaschenTaschen2016148_1-0" class="reference"><a href="#cite_note-FOOTNOTETaschenTaschen2016148-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup> Its name is a <a href="Portmanteau" class="mw-redirect" title="Portmanteau">portmanteau</a> of <a href="Constructivist_architecture" title="Constructivist architecture">Constructivism</a> and "<a href="Deconstruction" title="Deconstruction">Deconstruction</a>", a form of <a href="Semiotic" class="mw-redirect" title="Semiotic">semiotic</a> analysis developed by the French philosopher <a href="Jacques_Derrida" title="Jacques Derrida">Jacques Derrida</a>. Architects whose work is often described as deconstructivist (though in many cases the architects themselves reject the label) include <a href="Zaha_Hadid" title="Zaha Hadid">Zaha Hadid</a>, <a href="Peter_Eisenman" title="Peter Eisenman">Peter Eisenman</a>, <a href="Frank_Gehry" title="Frank Gehry">Frank Gehry</a>, <a href="Rem_Koolhaas" title="Rem Koolhaas">Rem Koolhaas</a>, <a href="Daniel_Libeskind" title="Daniel Libeskind">Daniel Libeskind</a>, <a href="Bernard_Tschumi" title="Bernard Tschumi">Bernard Tschumi</a>, and <a href="Coop_Himmelb(l)au" title="Coop Himmelb(l)au">Coop Himmelb(l)au</a>.<sup id="cite_ref-FOOTNOTETaschenTaschen2016148_1-1" class="reference"><a href="#cite_note-FOOTNOTETaschenTaschen2016148-1"><span class="cite-bracket">[</span>1<span class="cite-bracket">]</span></a></sup>

</p><p>The term does not inherently refer to the style's <i>deconstructed</i> visuals as the English adjective suggests, but instead derives from the movement's foundations in contrast to the Russian <a href="Constructivist_architecture" title="Constructivist architecture">Constructivist</a> movement during the <a href="World_War_I" title="World War I">First World War</a> that "broke the rules" of classical architecture through the French language.<sup id="cite_ref-2" class="reference"><a href="#cite_note-2"><span class="cite-bracket">[</span>2<span class="cite-bracket">]</span></a></sup>

</p><p>Besides fragmentation, deconstructivism often manipulates the structure's surface skin and deploys non-<a href="Rectilinear_polygon" title="Rectilinear polygon">rectilinear</a> shapes which appear to distort and dislocate <a href="Design_elements" title="Design elements">established elements of architecture</a>. The finished visual appearance is characterized by unpredictability and controlled chaos.

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<div class="mw-heading mw-heading2"><h2 id="History,_context_and_influences">History, context and influences</h2></div>

<p>Deconstructivism came to public notice with the 1982 <a href="Parc_de_la_Villette" title="Parc de la Villette">Parc de la Villette</a> <a href="Architectural_design_competition" title="Architectural design competition">architectural design competition</a>, in particular the entry from <a href="Jacques_Derrida" title="Jacques Derrida">Jacques Derrida</a> and <a href="Peter_Eisenman" title="Peter Eisenman">Peter Eisenman</a><sup id="cite_ref-3" class="reference"><a href="#cite_note-3"><span class="cite-bracket">[</span>3<span class="cite-bracket">]</span></a></sup> and the winning entry by <a href="Bernard_Tschumi" title="Bernard Tschumi">Bernard Tschumi</a>, as well as the <a href="Museum_of_Modern_Art" title="Museum of Modern Art">Museum of Modern Art</a>’s 1988 <i>Deconstructivist Architecture</i> exhibition in New York, organized by <a href="Philip_Johnson" title="Philip Johnson">Philip Johnson</a> and <a href="Mark_Wigley" title="Mark Wigley">Mark Wigley</a>. Tschumi stated that calling the work of these architects a "movement" or a new "style" was out of context and showed a lack of understanding of their ideas, and believed that Deconstructivism was simply a move against the practice of <a href="Postmodern_architecture" title="Postmodern architecture">PoMo</a>, which he said involved "making Doric temple forms out of plywood".<sup id="cite_ref-4" class="reference"><a href="#cite_note-4"><span class="cite-bracket">[</span>4<span class="cite-bracket">]</span></a></sup>

</p><p>Other influential exhibitions include the 1989 opening of the <a href="Wexner_Center_for_the_Arts" title="Wexner Center for the Arts">Wexner Center for the Arts</a> in <a href="Columbus%2C_Ohio" title="Columbus, Ohio">Columbus</a>, designed by Peter Eisenman. The New York exhibition has featured works by <a href="Frank_Gehry" title="Frank Gehry">Frank Gehry</a>, <a href="Daniel_Libeskind" title="Daniel Libeskind">Daniel Libeskind</a>, <a href="Rem_Koolhaas" title="Rem Koolhaas">Rem Koolhaas</a>, <a href="Peter_Eisenman" title="Peter Eisenman">Peter Eisenman</a>, <a href="Zaha_Hadid" title="Zaha Hadid">Zaha Hadid</a>, <a href="Coop_Himmelb(l)au" title="Coop Himmelb(l)au">Coop Himmelb(l)au</a>, and <a href="Bernard_Tschumi" title="Bernard Tschumi">Bernard Tschumi</a>. Since their exhibitions, some architects associated with Deconstructivism have distanced themselves from it; nonetheless, the term has stuck and has come to embrace a general trend within <a href="Contemporary_architecture" title="Contemporary architecture">Contemporary architecture</a>.

</p>

<p>Early antecedents of the architectural movement could be found in <a href="Industrial_design" title="Industrial design">industrial design</a>, notably in <a href="Ettore_Sottsass" title="Ettore Sottsass">Ettore Sottsass</a>' design for the 1969 <a href="Olivetti_Valentine" title="Olivetti Valentine">Olivetti Valentine</a> typewriter, a non-conformist design that deconstructed what was typically the typewriter's bodywork, revealing elements normally concealed, using 'floating keys' and a body-colored plastic 'rail' ahead of the spacebar, visually detached from the typewriter's main body.

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<div class="mw-heading mw-heading3"><h3 id="Modernism_and_postmodernism">Modernism and postmodernism</h3></div>

<p>The term <i>Deconstructivism</i> in contemporary architecture is opposed to the ordered rationality of <a href="Modern_architecture" title="Modern architecture">Modernism</a> and <a href="Postmodern_architecture" title="Postmodern architecture">Postmodernism</a>. Though postmodernist and nascent deconstructivist architects both published in the journal <i><a href="Oppositions" title="Oppositions">Oppositions</a></i> (published between 1973 and 1984), that journal's contents mark a decisive break between the two movements. Deconstructivism took a confrontational stance to <a href="Architectural_history" class="mw-redirect" title="Architectural history">architectural history</a>, wanting to "disassemble" architecture.<sup id="cite_ref-6" class="reference"><a href="#cite_note-6"><span class="cite-bracket">[</span>6<span class="cite-bracket">]</span></a></sup> While postmodernism returned to embrace the historical references that modernism had shunned, possibly ironically, deconstructivism rejected the postmodern acceptance of such references, as well as the idea of ornament as an after-thought or decoration.

</p><p>In addition to <i>Oppositions</i>, a defining text for both deconstructivism and postmodernism was <a href="Robert_Venturi" title="Robert Venturi">Robert Venturi</a>'s <i>Complexity and Contradiction in Architecture</i> (1966). It argues against the purity, clarity and simplicity of modernism. With its publication, <a href="Functionalism_(architecture)" title="Functionalism (architecture)">functionalism</a> and <a href="Rationalism_(architecture)" title="Rationalism (architecture)">rationalism</a>, the two main branches of modernism, were overturned as paradigms. The reading of the postmodernist Venturi was that ornament and historical allusion added a richness to architecture that modernism had foregone. Some Postmodern architects endeavored to reapply ornament even to economical and minimal buildings, described by Venturi as "the decorated shed". Rationalism of design was dismissed but the functionalism of the building was still somewhat intact. This is close to the thesis of Venturi's next major work,<sup id="cite_ref-7" class="reference"><a href="#cite_note-7"><span class="cite-bracket">[</span>7<span class="cite-bracket">]</span></a></sup> that <a href="Sign_(semiotics)" title="Sign (semiotics)">signs</a> and ornament can be applied to a pragmatic architecture, and instill the philosophic complexities of <a href="Semiotics" title="Semiotics">semiology</a>.

</p><p>The deconstructivist reading of <i>Complexity and Contradiction</i> is quite different. The basic building was the subject of problematics and intricacies in deconstructivism, with no detachment for ornament. Rather than separating ornament and function, like postmodernists such as Venturi, the functional aspects of buildings were called into question. Geometry was to deconstructivists what ornament was to postmodernists, the subject of complication, and this complication of geometry was in turn, applied to the functional, structural, and spatial aspects of deconstructivist buildings. One example of deconstructivist complexity is <a href="Frank_Gehry" title="Frank Gehry">Frank Gehry</a>'s <a href="Vitra_Design_Museum" title="Vitra Design Museum">Vitra Design Museum</a> in Weil-am-Rhein, which takes the typical unadorned white cube of modernist <a href="Art_gallery" title="Art gallery">art galleries</a> and deconstructs it, using geometries reminiscent of cubism and abstract expressionism. This subverts the functional aspects of modernist simplicity while taking modernism, particularly the international style, of which its white stucco skin is reminiscent, as a starting point. Another example of the deconstructivist reading of <i>Complexity and Contradiction</i> is <a href="Peter_Eisenman" title="Peter Eisenman">Peter Eisenman</a>'s <a href="Wexner_Center_for_the_Arts" title="Wexner Center for the Arts">Wexner Center for the Arts</a>. The Wexner Center takes the archetypal form of the <a href="Castle" title="Castle">castle</a>, which it then imbues with complexity in a series of cuts and fragmentations. A three-dimensional grid runs somewhat arbitrarily through the building. The grid, as a reference to modernism, of which it is an accoutrement, collides with the medieval antiquity of a castle. Some of the grid's columns intentionally do not reach the ground, hovering over stairways creating a sense of neurotic unease and contradicting the structural purpose of the <a href="Column" title="Column">column</a>. The Wexner Center deconstructs the archetype of the castle and renders its spaces and structure with conflict and difference.

</p>

<div class="mw-heading mw-heading3"><h3 id="Deconstructivist_philosophy">Deconstructivist philosophy</h3></div>

<p>Some Deconstructivist architects were influenced by the French philosopher <a href="Jacques_Derrida" title="Jacques Derrida">Jacques Derrida</a>. Eisenman was a friend of Derrida, but even so his approach to architectural design was developed long before he became a Deconstructivist. For him Deconstructivism should be considered an extension of his interest in radical formalism. Some practitioners of deconstructivism were also influenced by the formal experimentation and geometric imbalances of Russian <a href="Constructivist_architecture" title="Constructivist architecture">constructivism</a>. There are additional references in deconstructivism to 20th-century movements: the <a href="Modernism" title="Modernism">modernism</a>/<a href="Postmodernism" title="Postmodernism">postmodernism</a> interplay, <a href="Expressionist_architecture" title="Expressionist architecture">expressionism</a>, <a href="Cubism" title="Cubism">cubism</a>, <a href="Minimalism" title="Minimalism">minimalism</a> and <a href="Contemporary_art" title="Contemporary art">contemporary art</a>. Deconstructivism attempts to move away from the supposedly constricting 'rules' of modernism such as "<a href="Form_follows_function" title="Form follows function">form follows function</a>", "<a href="Purism_(arts)" class="mw-redirect" title="Purism (arts)">purity of form</a>", and "<a href="Truth_to_materials" title="Truth to materials">truth to materials</a>".

</p>

<p>The main channel from deconstructivist philosophy to <a href="Architectural_theory" title="Architectural theory">architectural theory</a> was through the philosopher <a href="Jacques_Derrida" title="Jacques Derrida">Jacques Derrida</a>'s influence with <a href="Peter_Eisenman" title="Peter Eisenman">Peter Eisenman</a>. Eisenman drew some philosophical bases from the literary movement <a href="Deconstruction" title="Deconstruction">Deconstruction</a>, and collaborated directly with Derrida on projects including an entry for the <a href="Parc_de_la_Villette" title="Parc de la Villette">Parc de la Villette</a> competition, documented in <i>Chora l Works</i>. Both Derrida and Eisenman, as well as <a href="Daniel_Libeskind" title="Daniel Libeskind">Daniel Libeskind</a><sup id="cite_ref-8" class="reference"><a href="#cite_note-8"><span class="cite-bracket">[</span>8<span class="cite-bracket">]</span></a></sup> were concerned with the "<a href="Metaphysics_of_presence" title="Metaphysics of presence">metaphysics of presence</a>", and this is the main subject of deconstructivist philosophy in architecture theory. The presupposition is that architecture is a language capable of communicating meaning and of receiving treatments by methods of linguistic philosophy.<sup id="cite_ref-Curl_9-0" class="reference"><a href="#cite_note-Curl-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> The dialectic of presence and absence, or solid and void occurs in much of Eisenman's projects, both built and unbuilt. Both Derrida and Eisenman believe that the locus, or place of presence, is architecture, and the same dialectic of presence and absence is found in construction and deconstructivism.<sup id="cite_ref-10" class="reference"><a href="#cite_note-10"><span class="cite-bracket">[</span>10<span class="cite-bracket">]</span></a></sup>

</p><p>According to Derrida, readings of texts are best carried out when working with classical narrative structures. Any architectural deconstructivism requires the existence of a particular archetypal <i>con</i>struction, a strongly-established conventional expectation to play flexibly against.<sup id="cite_ref-11" class="reference"><a href="#cite_note-11"><span class="cite-bracket">[</span>11<span class="cite-bracket">]</span></a></sup> The design of <a href="Frank_Gehry" title="Frank Gehry">Frank Gehry</a>’s own <a href="Santa_Monica" class="mw-redirect" title="Santa Monica">Santa Monica</a> residence, (from 1978), has been cited as a prototypical deconstructivist building. His starting point was a prototypical suburban house embodied with a typical set of intended social meanings. Gehry altered its massing, spatial envelopes, planes and other expectations in a playful subversion, an act of "de"construction"<sup id="cite_ref-12" class="reference"><a href="#cite_note-12"><span class="cite-bracket">[</span>12<span class="cite-bracket">]</span></a></sup>

</p><p>In addition to Derrida's concepts of the metaphysics of presence and deconstructivism, his notions of trace and erasure, embodied in his philosophy of writing and arche-writing<sup id="cite_ref-13" class="reference"><a href="#cite_note-13"><span class="cite-bracket">[</span>13<span class="cite-bracket">]</span></a></sup> found their way into deconstructivist <a href="Memorial" title="Memorial">memorials</a>. Daniel Libeskind envisioned many of his early projects as a form of writing or discourse on writing and often works with a form of <a href="Concrete_poetry" title="Concrete poetry">concrete poetry</a>. He made architectural sculptures out of books and often coated the models in texts, openly making his architecture refer to writing. The notions of trace and erasure were taken up by Libeskind in essays and in his project for the <a href="Jewish_Museum_Berlin" title="Jewish Museum Berlin">Jewish Museum Berlin</a>. The museum is conceived as a trace of the erasure of the <a href="Holocaust" class="mw-redirect" title="Holocaust">Holocaust</a>, intended to make its subject legible and poignant. Memorials such as <a href="Maya_Lin" title="Maya Lin">Maya Lin</a>'s <a href="Vietnam_Veterans_Memorial" title="Vietnam Veterans Memorial">Vietnam Veterans Memorial</a> and Peter Eisenman's <a href="Memorial_to_the_Murdered_Jews_of_Europe" title="Memorial to the Murdered Jews of Europe">Memorial to the Murdered Jews of Europe</a> are also said to reflect themes of trace and erasure.

</p>

<div class="mw-heading mw-heading3"><h3 id="Constructivism_and_Russian_Futurism">Constructivism and Russian Futurism</h3></div>

<p>Another major current in deconstructivist architecture takes inspiration from the <a href="Constructivism_(art)" title="Constructivism (art)">Constructivist</a> and <a href="Russian_futurism" class="mw-redirect" title="Russian futurism">Russian Futurist</a> movements of the early twentieth century, both in their graphics and in their visionary architecture, little of which was actually constructed.

</p><p>Artists <a href="Naum_Gabo" title="Naum Gabo">Naum Gabo</a>, <a href="El_Lissitzky" title="El Lissitzky">El Lissitzky</a>, <a href="Kazimir_Malevich" title="Kazimir Malevich">Kazimir Malevich</a>, and <a href="Alexander_Rodchenko" title="Alexander Rodchenko">Alexander Rodchenko</a>, have influenced the graphic sense of geometric forms of deconstructivist architects such as <a href="Zaha_Hadid" title="Zaha Hadid">Zaha Hadid</a> and <a href="Coop_Himmelb(l)au" title="Coop Himmelb(l)au">Coop Himmelb(l)au</a>. Both Deconstructivism and Constructivism have been concerned with the tectonics of making an abstract assemblage. Both were concerned with the radical simplicity of geometric forms as the primary artistic content, expressed in graphics, sculpture and architecture. The Constructivist tendency toward <a href="Purism_(arts)" class="mw-redirect" title="Purism (arts)">purism</a>, though, is absent in Deconstructivism: form is often deformed when construction is deconstructed. Also lessened or absent is the advocacy of <a href="Socialism" title="Socialism">socialist</a> and <a href="Collectivism_and_individualism" class="mw-redirect" title="Collectivism and individualism">collectivist</a> causes.

</p><p>The primary graphic motifs of constructivism were the rectangular bar and the triangular wedge, others were the more basic geometries of the square and the circle. In his series <i>Prouns</i>, El Lizzitzky assembled collections of geometries at various angles floating free in space. They evoke basic structural units such as bars of steel or sawn lumber loosely attached, piled, or scattered. They were also often <a href="Technical_drawing" title="Technical drawing">drafted</a> and share aspects with <a href="Technical_drawing" title="Technical drawing">technical drawing</a> and <a href="Engineering_drawing" title="Engineering drawing">engineering drawing</a>. Similar in composition is the deconstructivist series <i>Micromegas</i> by Daniel Libeskind.

</p>

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</style><blockquote class="templatequote"><p>The symbolic breakdown of the wall effected by introducing the Constructivist motifs of tilted and crossed bars sets up a subversion of the walls that define the bar itself. ... This apparent chaos actually constructs the walls that define the bar; it is the structure. The internal disorder produces the bar while splitting it even as gashes open up along its length.</p></blockquote><div class="templatequotecite"><p style="display: inline; padding-left: 2.3em;">— Phillip Johnson and Mark Wigley, <i>Deconstructive Architecture</i>, p. 34</p></div>

<div class="mw-heading mw-heading3"><h3 id="Contemporary_art">Contemporary art</h3></div>

<p>Two strains of modern art, <a href="Minimalism" title="Minimalism">minimalism</a> and <a href="Cubism" title="Cubism">cubism</a>, have had an influence on deconstructivism. <a href="Analytical_cubism" class="mw-redirect" title="Analytical cubism">Analytical cubism</a> had a sure effect on deconstructivism, as forms and content are dissected and viewed from different perspectives simultaneously. A synchronicity of disjoined space is evident in many of the works of <a href="Frank_Gehry" title="Frank Gehry">Frank Gehry</a> and <a href="Bernard_Tschumi" title="Bernard Tschumi">Bernard Tschumi</a>. <a href="Synthetic_cubism" class="mw-redirect" title="Synthetic cubism">Synthetic cubism</a>, with its application of <a href="Found_object" title="Found object">found object</a> art, is not as great an influence on deconstructivism as <a href="Analytical_cubism" class="mw-redirect" title="Analytical cubism">Analytical cubism</a>, but is still found in the earlier and more vernacular works of Frank Gehry. Deconstructivism also shares with minimalism a disconnection from cultural references.

</p><p>With its tendency toward deformation and dislocation, there is also an aspect of <a href="Expressionism" title="Expressionism">expressionism</a> and <a href="Expressionist_architecture" title="Expressionist architecture">expressionist architecture</a> associated with deconstructivism. At times deconstructivism mirrors varieties of expressionism, <a href="Neo-expressionism" title="Neo-expressionism">neo-expressionism</a>, and <a href="Abstract_expressionism" title="Abstract expressionism">abstract expressionism</a> as well. The angular forms of the Ufa Cinema Center by Coop Himmelb(l)au recall the abstract geometries of the numbered paintings of <a href="Franz_Kline" title="Franz Kline">Franz Kline</a>, in their unadorned masses. The UFA Cinema Center also would make a likely setting for the angular figures depicted in urban German street scenes by <a href="Ernst_Ludwig_Kirchner" title="Ernst Ludwig Kirchner">Ernst Ludwig Kirchner</a>. The work of <a href="Wassily_Kandinsky" title="Wassily Kandinsky">Wassily Kandinsky</a> also bears similarities to deconstructivist architecture. His movement into abstract expressionism and away from figurative work,<sup id="cite_ref-15" class="reference"><a href="#cite_note-15"><span class="cite-bracket">[</span>15<span class="cite-bracket">]</span></a></sup> is in the same spirit as the deconstructivist rejection of ornament for geometries.

</p><p>Several artists in the 1980s and 1990s contributed work that influenced or took part in deconstructivism. <a href="Maya_Lin" title="Maya Lin">Maya Lin</a> and <a href="Rachel_Whiteread" title="Rachel Whiteread">Rachel Whiteread</a> are two examples. Lin's 1982 project for the <a href="Vietnam_Veterans_Memorial" title="Vietnam Veterans Memorial">Vietnam Veterans Memorial</a>, with its granite slabs severing the ground plane, is one. Its shard-like form and reduction of content to a minimalist text influenced deconstructivism, with its sense of fragmentation and emphasis on reading the monument. Lin also contributed work for Eisenman's Wexner Center. Rachel Whiteread's cast architectural spaces are another instance where <a href="Contemporary_art" title="Contemporary art">contemporary art</a> is confluent with architecture. <i>Ghost</i> (1990), an entire living space cast in plaster, solidifying the void, alludes to Derrida's notion of architectural presence. <a href="Gordon_Matta-Clark" title="Gordon Matta-Clark">Gordon Matta-Clark</a>'s <i>Building cuts</i> were deconstructed sections of buildings exhibited in art galleries.

</p>

<div class="mw-heading mw-heading3"><h3 id="1988_MoMA_exhibition">1988 MoMA exhibition</h3></div>

<p><a href="Mark_Wigley" title="Mark Wigley">Mark Wigley</a> and <a href="Philip_Johnson" title="Philip Johnson">Philip Johnson</a> curated the 1988 <a href="Museum_of_Modern_Art" title="Museum of Modern Art">Museum of Modern Art</a> exhibition <i>Deconstructivist architecture</i>, which crystallized the movement, and brought fame and notoriety to its key practitioners. The architects presented at the exhibition were <a href="Peter_Eisenman" title="Peter Eisenman">Peter Eisenman</a>, <a href="Frank_Gehry" title="Frank Gehry">Frank Gehry</a>, <a href="Zaha_Hadid" title="Zaha Hadid">Zaha Hadid</a>, <a href="Coop_Himmelblau" class="mw-redirect" title="Coop Himmelblau">Coop Himmelblau</a>, <a href="Rem_Koolhaas" title="Rem Koolhaas">Rem Koolhaas</a>, <a href="Daniel_Libeskind" title="Daniel Libeskind">Daniel Libeskind</a>, and <a href="Bernard_Tschumi" title="Bernard Tschumi">Bernard Tschumi</a>. Mark Wigley wrote the accompanying essay and tried to show a common thread among the various architects whose work was usually more noted for their differences.

</p>

<blockquote class="templatequote"><p>The projects in this exhibition mark a different sensibility, one in which the dream of pure form has been disturbed.

</p><p>It is the ability to disturb our thinking about form that makes these projects deconstructive.

</p><p>

The show examines an episode, a point of intersection between several architects where each constructs an unsettling building by exploiting the hidden potential of modernism.</p></blockquote><div class="templatequotecite"><p style="display: inline; padding-left: 2.3em;">— Phillip Johnson and Mark Wigley, excerpt from the MoMA <i>Deconstructivist Architecture</i> catalog</p></div>

<div class="mw-heading mw-heading3"><h3 id="Computer-aided_design">Computer-aided design</h3></div>

<p><a href="Computer-aided_design" title="Computer-aided design">Computer-aided design</a> is now an essential tool in most aspects of contemporary architecture, but the particular nature of deconstructivism makes the use of computers especially pertinent. Three-dimensional modelling and animation (virtual and physical) assists in the conception of very complicated spaces, while the ability to link computer models to manufacturing jigs (CAM—<a href="Computer-aided_manufacturing" title="Computer-aided manufacturing">computer-aided manufacturing</a>) allows the mass production of subtly different modular elements to be achieved at affordable costs. Also, Gehry is noted for producing many physical models as well as computer models as part of his design process. Though the computer has made the designing of complex shapes much easier, not everything that looks odd is "deconstructivist".

</p>

<div class="mw-heading mw-heading2"><h2 id="Gallery">Gallery</h2></div>

<div class="gallerytext"><a href="Jewish_Museum%2C_Berlin" class="mw-redirect" title="Jewish Museum, Berlin">Jewish Museum, Berlin</a>, <a href="Germany" title="Germany">Germany</a></div>

</li>

<div class="gallerytext">Alpine Deconstructivism in <a href="Kitzb%C3%BChel" title="Kitzbühel">Kitzbühel</a>, <a href="Austria" title="Austria">Austria</a>, by <a href="https://www.mediawiki.org/wiki/de:Christine_Lechner" class="extiw external" title="mw:de:Christine Lechner">Christine</a> & <a href="https://www.mediawiki.org/wiki/de:Horst_Lechner" class="extiw external" title="mw:de:Horst Lechner">Horst Lechner</a></div>

</li>

<div class="gallerytext">Günter Domenig' s "Steinhaus" at <a href="Lake_Ossiach" title="Lake Ossiach">Lake Ossiach</a>, <a href="Austria" title="Austria">Austria</a></div>

</li>

<div class="gallerytext"><a href="Vitra_Design_Museum" title="Vitra Design Museum">Vitra Design Museum</a> by <a href="Frank_Gehry" title="Frank Gehry">Frank Gehry</a>, <a href="Weil_am_Rhein" title="Weil am Rhein">Weil am Rhein</a>, <a href="Germany" title="Germany">Germany</a></div>

</li>

<div class="gallerytext"><a href="Dancing_House" title="Dancing House">Dancing House</a> by <a href="Vlado_Miluni%C4%87" title="Vlado Milunić">Vlado Milunić</a> and <a href="Frank_Gehry" title="Frank Gehry">Frank Gehry</a>, <a href="Prague" title="Prague">Prague</a>, <a href="Czech_Republic" title="Czech Republic">Czech Republic</a></div>

</li>

<div class="gallerytext"><a href="City_of_Capitals" title="City of Capitals">City of Capitals</a> in <a href="Moscow_International_Business_Center" title="Moscow International Business Center">Moscow IBC</a>, <a href="Russia" title="Russia">Russia</a></div>

</li>

<div class="gallerytext">UFA-Palast in <a href="Dresden" title="Dresden">Dresden</a>, <a href="Dresden" title="Dresden">Dresden</a>, Germany, by <a href="Coop_Himmelb(l)au" title="Coop Himmelb(l)au">Coop Himmelb(l)au</a></div>

</li>

<div class="gallerytext"><a href="Walt_Disney_Concert_Hall" title="Walt Disney Concert Hall">Walt Disney Concert Hall</a> by <a href="Frank_Gehry" title="Frank Gehry">Frank Gehry</a>, <a href="Los_Angeles%2C_California" class="mw-redirect" title="Los Angeles, California">Los Angeles, California</a></div>

</li>

<div class="gallerytext">The <a href="Guggenheim_Museum_Bilbao" title="Guggenheim Museum Bilbao">Guggenheim Museum Bilbao</a> by <a href="Frank_Gehry" title="Frank Gehry">Frank Gehry</a>, in <a href="Bilbao" title="Bilbao">Bilbao</a>, <a href="Spain" title="Spain">Spain</a></div>

</li>

<div class="gallerytext">Paseo de Gracia Station, <a href="Barcelona" title="Barcelona">Barcelona</a> (1991) by Daniel Navas, Neus Solé. Arch.</div>

</li>

<div class="gallerytext">The Gymnasium by Josef Kiszka and Barbara Potysz, in <a href="Orlov%C3%A1" title="Orlová">Orlová</a>, <a href="Czech_Republic" title="Czech Republic">Czech Republic</a></div>

</li>

<div class="gallerytext"><a href="Hotel_Porta_Fira" title="Hotel Porta Fira">Hotel Porta Fira</a> (left) in <a href="Barcelona" title="Barcelona">Barcelona</a>, Spain, by <a href="Toyo_Ito" title="Toyo Ito">Toyo Ito</a></div>

</li>

<div class="gallerytext"> The <a href="McCormick_Tribune_Campus_Center" title="McCormick Tribune Campus Center">McCormick Tribune Campus Center</a> at <a href="Chicago" title="Chicago">Chicago</a>'s <a href="Illinois_Institute_of_Technology" title="Illinois Institute of Technology">IIT Campus</a> by <a href="Rem_Koolhaas" title="Rem Koolhaas">Rem Koolhaas</a>, completed 2003</div>

</li>

<div class="gallerytext"><a href="Puente_de_la_Mujer" title="Puente de la Mujer">Puente de la Mujer</a>, <a href="Argentina" title="Argentina">Argentina</a> by <a href="Santiago_Calatrava" title="Santiago Calatrava">Santiago Calatrava</a></div>

</li>

<div class="gallerytext"><a href="New_synagogue_Mainz" class="mw-redirect" title="New synagogue Mainz">New synagogue</a> in <a href="Mainz" title="Mainz">Mainz</a> by <a href="Manuel_Herz" title="Manuel Herz">Manuel Herz</a></div>

</li>

</ul>

<div class="mw-heading mw-heading2"><h2 id="Critical_responses">Critical responses</h2></div>

<p>Since the publication of <a href="Kenneth_Frampton" title="Kenneth Frampton">Kenneth Frampton</a>'s <i>Modern Architecture: A Critical History</i> (first edition 1980) there has been a keen consciousness of the role of criticism within architectural theory. Whilst referencing Derrida as a philosophical influence, deconstructivism can also be seen as having as much a basis in <a href="Critical_theory" title="Critical theory">critical theory</a> as the other major offshoot of postmodernism, <a href="Critical_regionalism" title="Critical regionalism">critical regionalism</a>. The two aspects of critical theory, urgency and analysis, are found in deconstructivism. There is a tendency to re-examine and critique other works or precedents in deconstructivism, and also a tendency to set aesthetic issues in the foreground. An example of this is the <a href="Wexner_Center" class="mw-redirect" title="Wexner Center">Wexner Center</a>. <a href="Critical_Theory" class="mw-redirect" title="Critical Theory">Critical Theory</a>, however, had at its core a critique of capitalism and its excess, and from that respect many of the works of the Deconstructivists would fail in that regard if only they are made for an elite and are, as objects, highly expensive, despite whatever critique they may claim to impart on the conventions of design.

</p><p>The difference between criticality in deconstructivism and criticality in critical regionalism is that critical regionalism <i>reduces</i> the overall level of complexity involved and maintains a clearer analysis while attempting to reconcile modernist architecture with local differences. In effect, this leads to a modernist "vernacular". Critical regionalism displays a lack of <a href="Self-criticism" title="Self-criticism">self-criticism</a> and a <a href="Utopia" title="Utopia">utopianism</a> of place. Deconstructivism, meanwhile, maintains a level of self-criticism and a <a href="Dystopia" title="Dystopia">dystopianism</a> of place, as well as external criticism and tends towards maintaining a level of complexity. Some architects identified with the movement, notably <a href="Frank_Gehry" title="Frank Gehry">Frank Gehry</a>, have actively rejected the classification of their work as deconstructivist.<sup id="cite_ref-16" class="reference"><a href="#cite_note-16"><span class="cite-bracket">[</span>16<span class="cite-bracket">]</span></a></sup>

</p><p>Critics of deconstructivism see it as a purely formal exercise with little social significance. <a href="Kenneth_Frampton" title="Kenneth Frampton">Kenneth Frampton</a> finds it "elitist and detached".<sup id="cite_ref-17" class="reference"><a href="#cite_note-17"><span class="cite-bracket">[</span>17<span class="cite-bracket">]</span></a></sup> <a href="Nikos_Salingaros" title="Nikos Salingaros">Nikos Salingaros</a> calls deconstructivism a "viral expression" that invades design thinking in order to build destroyed forms; while curiously similar to both Derrida's and Philip Johnson's descriptions, this is meant as a harsh condemnation of the entire movement.<sup id="cite_ref-18" class="reference"><a href="#cite_note-18"><span class="cite-bracket">[</span>18<span class="cite-bracket">]</span></a></sup> Other criticisms are similar to those of deconstructivist philosophy—that since the act of deconstructivism is not an empirical process, it can result in whatever an architect wishes, and it thus suffers from a lack of consistency. Today there is a sense that the philosophical underpinnings of the beginning of the movement have been lost, and all that is left is the aesthetic of deconstructivism.<sup id="cite_ref-19" class="reference"><a href="#cite_note-19"><span class="cite-bracket">[</span>19<span class="cite-bracket">]</span></a></sup> Other criticisms reject the premise that architecture is a language capable of being the subject of linguistic philosophy, or, if it was a language in the past, critics claim it is no longer.<sup id="cite_ref-Curl_9-1" class="reference"><a href="#cite_note-Curl-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup> Others question the wisdom and impact on future generations of an architecture that rejects the past and presents no clear values as replacements and which often pursues strategies that are intentionally aggressive to human senses.<sup id="cite_ref-Curl_9-2" class="reference"><a href="#cite_note-Curl-9"><span class="cite-bracket">[</span>9<span class="cite-bracket">]</span></a></sup>

</p>

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<ul><li><a href="G%C3%BCnter_Behnisch" title="Günter Behnisch">Günter Behnisch</a></li>

<li><a href="Constructivism_(art)" title="Constructivism (art)">Constructivism (art)</a></li>

<li><a href="Deconstruction_(fashion)" title="Deconstruction (fashion)">Deconstruction (fashion)</a></li>

<li><a href="Futurism_(art)" class="mw-redirect" title="Futurism (art)">Futurism (art)</a></li>

<li><a href="Kh%C3%B4ra" title="Khôra">Khôra</a></li>

<li><a href="Thom_Mayne" title="Thom Mayne">Thom Mayne</a></li>

<li><a href="Novelty_architecture" title="Novelty architecture">Novelty architecture</a></li>

<li><a href="Reconstruction_(architecture)" title="Reconstruction (architecture)">Reconstruction (architecture)</a></li>

<li><a href="Rooftop_Remodeling_Falkestrasse" title="Rooftop Remodeling Falkestrasse">Rooftop Remodeling Falkestrasse</a></li>

<li><a href="Structuralism_(architecture)" title="Structuralism (architecture)">Structuralism (architecture)</a></li>

<li><a href="Vorticism" title="Vorticism">Vorticism</a></li></ul>

<div class="mw-heading mw-heading2"><h2 id="Citations">Citations</h2></div>

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<li id="cite_note-FOOTNOTETaschenTaschen2016148-1"><span class="mw-cite-backlink">^ <a href="#cite_ref-FOOTNOTETaschenTaschen2016148_1-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-FOOTNOTETaschenTaschen2016148_1-1"><sup><i><b>b</b></i></sup></a></span> <span class="reference-text"><a href="#CITEREFTaschenTaschen2016">Taschen & Taschen 2016</a>, p. 148.</span>

</li>

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</style><cite class="citation web cs1"><a rel="nofollow" class="external text" href="https://www.archdaily.com/899645/what-is-deconstructivism">"What is Deconstructivism?"</a>. <i>ArchDaily</i>. 2018-08-12<span class="reference-accessdate">. Retrieved <span class="nowrap">2020-07-19</span></span>.</cite></span>

</li>

<li id="cite_note-3"><span class="mw-cite-backlink"><b><a href="#cite_ref-3">^</a></b></span> <span class="reference-text">Jacques Derrida and Peter Eisenman, <i>Chora L Works</i> (New York: Monacelli Press, 1997)</span>

</li>

<li id="cite_note-4"><span class="mw-cite-backlink"><b><a href="#cite_ref-4">^</a></b></span> <span class="reference-text"><a rel="nofollow" class="external text" href="http://www.tschumi.com/news/33/">Rem Koolhaas and Bernard Tschumi in Conversation, 18 May 2001, ETH Zürich.</a></span>

</li>

<li id="cite_note-5"><span class="mw-cite-backlink"><b><a href="#cite_ref-5">^</a></b></span> <span class="reference-text">Wotruba sixpackfilm Vienna, Austria 2014 <a rel="nofollow" class="external free" href="https://www.sixpackfilm.com/de/catalogue/2118/">https://www.sixpackfilm.com/de/catalogue/2118/</a></span>

</li>

<li id="cite_note-6"><span class="mw-cite-backlink"><b><a href="#cite_ref-6">^</a></b></span> <span class="reference-text">Tschumi, <i>Architecture and Disjunction</i></span>

</li>

<li id="cite_note-7"><span class="mw-cite-backlink"><b><a href="#cite_ref-7">^</a></b></span> <span class="reference-text">Venturi (1977), <i>Learning From Las Vegas</i></span>

</li>

<li id="cite_note-8"><span class="mw-cite-backlink"><b><a href="#cite_ref-8">^</a></b></span> <span class="reference-text">Libeskind, Daniel. <a rel="nofollow" class="external text" href="http://www.daniel-libeskind.com/projects/show-all/imperial-war-museum-north/">"Imperial War Museum North Earth Time"</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20071021194414/http://www.daniel-libeskind.com/projects/show-all/imperial-war-museum-north/">Archived</a> 2007-10-21 at the <a href="Wayback_Machine" title="Wayback Machine">Wayback Machine</a> quote "This project develops the realm of the in between, the inter-est.... Pointing to that which is absent". Retrieved April, 2006</span>

</li>

<li id="cite_note-Curl-9"><span class="mw-cite-backlink">^ <a href="#cite_ref-Curl_9-0"><sup><i><b>a</b></i></sup></a> <a href="#cite_ref-Curl_9-1"><sup><i><b>b</b></i></sup></a> <a href="#cite_ref-Curl_9-2"><sup><i><b>c</b></i></sup></a></span> <span class="reference-text"><cite id="CITEREFCurl2006" class="citation book cs1">Curl, James Stevens (2006). <span class="id-lock-registration" title="Free registration required"><a rel="nofollow" class="external text" href="https://archive.org/details/dictionaryofarch00curl_0"><i>A Dictionary of Architecture and Landscape Architecture</i></a></span> (Paperback) (Second ed.). Oxford University Press. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-19-860678-8</bdi>.</cite></span>

</li>

<li id="cite_note-10"><span class="mw-cite-backlink"><b><a href="#cite_ref-10">^</a></b></span> <span class="reference-text">Eisenman and Derrida, <i>Choral Works</i></span>

</li>

<li id="cite_note-11"><span class="mw-cite-backlink"><b><a href="#cite_ref-11">^</a></b></span> <span class="reference-text">Derrida, <i>Of Grammatology</i></span>

</li>

<li id="cite_note-12"><span class="mw-cite-backlink"><b><a href="#cite_ref-12">^</a></b></span> <span class="reference-text">Holloway, Robert (1994).<a rel="nofollow" class="external text" href="http://www.mindyourownweb.co.uk/hosted/index.php?view=mattaclarking&pageid=85&PHPSESSID=c5e9dc8f3f4a6cfd3bc3216856fe17d8">"Mattaclarking"</a> <a rel="nofollow" class="external text" href="https://web.archive.org/web/20070517013252/http://www.mindyourownweb.co.uk/hosted/index.php?view=mattaclarking&pageid=85&PHPSESSID=c5e9dc8f3f4a6cfd3bc3216856fe17d8">Archived</a> 2007-05-17 at the <a href="Wayback_Machine" title="Wayback Machine">Wayback Machine</a> Dissertation Exploring the work of Gordon Matta-Clark. Retrieved April, 2006.</span>

</li>

<li id="cite_note-13"><span class="mw-cite-backlink"><b><a href="#cite_ref-13">^</a></b></span> <span class="reference-text">Derrida, <i>Of Grammatology</i> (1967)</span>

</li>

<li id="cite_note-14"><span class="mw-cite-backlink"><b><a href="#cite_ref-14">^</a></b></span> <span class="reference-text"><cite id="CITEREFLarsen2020" class="citation web cs1">Larsen, Keith (November 1, 2020). <a rel="nofollow" class="external text" href="https://therealdeal.com/2020/12/01/bad-year-1-in-5-units-at-gehry-skyscraper-goes-vacant/">"Occupancy at The New York by Gehry falls by more than 20%"</a>. <i>The Real Deal New York</i><span class="reference-accessdate">. Retrieved <span class="nowrap">February 25,</span> 2024</span>. <q>Frank Gehry designed the rippling stainless steel tower at 8 Spruce Street, which architecture critics marveled at for its unique "deconstructivism style."</q></cite></span>

</li>

<li id="cite_note-15"><span class="mw-cite-backlink"><b><a href="#cite_ref-15">^</a></b></span> <span class="reference-text">Kandinsky, "Point and Line to Plane"</span>

</li>

<li id="cite_note-16"><span class="mw-cite-backlink"><b><a href="#cite_ref-16">^</a></b></span> <span class="reference-text">Said Frank Gehry of Eisenman's <a href="Aronoff_Center" title="Aronoff Center">Aronoff Center</a>, "The best thing about Peter's buildings is the insane spaces he ends up with.... All that other stuff, the philosophy and all, is just bullshit as far as I'm concerned." Quoted in Peter Eisenman, <i>Peter Eisenman: 1990–1997</i>, ed. Richard C. Levene and Fernando Márquez Cecilia (Madrid: El Croquis Editorial, 1997), 46.</span>

</li>

<li id="cite_note-17"><span class="mw-cite-backlink"><b><a href="#cite_ref-17">^</a></b></span> <span class="reference-text">Frampton, Kenneth. <i>Modern Architecture: A Critical History</i>. Thames & Hudson, 3rd edition, 1992, p. 313</span>

</li>

<li id="cite_note-18"><span class="mw-cite-backlink"><b><a href="#cite_ref-18">^</a></b></span> <span class="reference-text">Salingaros, Nikos. "Anti-Architecture and Deconstruction", Umbau-Verlag, 3rd edition, 2008</span>

</li>

<li id="cite_note-19"><span class="mw-cite-backlink"><b><a href="#cite_ref-19">^</a></b></span> <span class="reference-text">Chakraborty, Judhajit; Deconstruction: From Philosophy to Design. Arizona State University, retrieved June 2006. "Today, in the mid 90s the term 'deconstructivism' is used casually to label any work that favours complexity over simplicity and dramatises the formal possibilities of digital production."</span>

</li>

</ol></div></div>

<div class="mw-heading mw-heading2"><h2 id="General_and_cited_references">General and cited references</h2></div>

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<ul><li><cite id="CITEREFBony2012" class="citation book cs1 cs1-prop-foreign-lang-source">Bony, Anne (2012). <i>L'Architecture Moderne</i> (in French). Larousse. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-2-03-587641-6</bdi>.</cite></li>

<li>Derrida, Jacques (1967). <i>Of Grammatology</i>, (hardcover: <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-8018-1841-9</bdi>, paperback: <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-8018-1879-6</bdi>, corrected edition: <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-8018-5830-5</bdi>) trans. <a href="Gayatri_Chakravorty_Spivak" title="Gayatri Chakravorty Spivak">Gayatri Chakravorty Spivak</a>. Johns Hopkins University Press.</li>

<li>Derrida, Jacques & Eisenman, Peter (1997). <i>Chora l Works</i>. Monacelli Press. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>1-885254-40-7</bdi>.</li>

<li>Derrida, Jacques & Husserl, Edmund (1989). <i>Edmund Husserl's Origin of Geometry: An Introduction</i>. University of Nebraska Press. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-8032-6580-8</bdi></li>

<li>Frampton, Kenneth (1992). <i>Modern Architecture, a critical history</i>. Thames & Hudson- Third Edition. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-500-20257-5</bdi></li>

<li>Johnson, Phillip & Wigley, Mark (1988). <i>Deconstructivist Architecture: The Museum of Modern Art, New York</i>. Little Brown and Company. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-87070-298-X</bdi></li>

<li>Hays, K.M. (ed.) (1998). <i>Oppositions Reader</i>. Princeton Architectural Press. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>1-56898-153-8</bdi></li>

<li>Kandinsky, Wassily. <i>Point and Line to Plane</i>. Dover Publications, New York. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-486-23808-3</bdi></li>

<li>McLeod, Mary, "Architecture and Politics in the Reagan Era: From Postmodernism to Deconstructivism," "Assemblage," 8 (1989), pp. 23–59.</li>

<li><cite id="CITEREFPoisson2009" class="citation book cs1 cs1-prop-foreign-lang-source">Poisson, Michel (2009). <i>1000 Immeubles et monuments de Paris</i> (in French). Parigramme. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-2-84096-539-8</bdi>.</cite></li>

<li>Rickey, George (1995). <i>Constructivism: Origins and Evolution</i>. George Braziller; Revised edition. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-8076-1381-9</bdi></li>

<li>Salingaros, Nikos (2008). "Anti-Architecture and Deconstruction", 3rd edition. Umbau-Verlag, Solingen, Germany. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-3-937954-09-7</bdi></li>

<li><cite id="CITEREFTaschenTaschen2016" class="citation book cs1 cs1-prop-foreign-lang-source">Taschen, Aurelia; Taschen, Balthazar (2016). <i>L'Architecture Moderne de A à Z</i> (in French). Bibliotheca Universalis. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>978-3-8365-5630-9</bdi>.</cite></li>

<li>Tschumi, Bernard (1994). <i>Architecture and Disjunction</i>. The MIT Press. Cambridge. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-262-20094-5</bdi></li>

<li>Van der Straeten, Bart. <a rel="nofollow" class="external text" href="https://web.archive.org/web/20060518055409/http://www.imageandnarrative.be/uncanny/bartvanderstraeten.htm"><i>Image and Narrative – The Uncanny and the architecture of Deconstruction</i></a> Retrieved April, 2006.</li>

<li>Venturi, Robert (1966). <i>Complexity and Contradiction in Architecture</i>, The Museum of Modern Art Press, New York. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-87070-282-3</bdi></li>

<li>Venturi, Robert (1977). <i>Learning from Las Vegas</i> (with D. Scott Brown and S. Izenour), Cambridge MA, 1972, revised 1977. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-262-72006-X</bdi></li>

<li>Wigley, Mark (1995). <i>The Architecture of Deconstruction: Derrida's Haunt</i>. The MIT Press. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>0-262-73114-2</bdi>.</li>

<li>Vicente Esteban Medina (2003) <a rel="nofollow" class="external text" href="http://oa.upm.es/481/"><i>Forma y composición en la Arquitectura deconstructivista</i></a>, <b>©</b> Tesis doctoral, Universidad Politécnica de Madrid. Registro Propiedad Intellectual Madrid Nº 16/2005/3967. Link de descarga de tesis en pdf: <a rel="nofollow" class="external free" href="http://oa.upm.es/481/">http://oa.upm.es/481/</a></li></ul>

</div>

<div class="mw-heading mw-heading2"><h2 id="Further_reading">Further reading</h2></div>

<ul><li><cite id="CITEREFFiellFiell2005" class="citation book cs1">Fiell, Charlotte; Fiell, Peter (2005). <i>Design of the 20th Century</i> (25th anniversary ed.). Köln: Taschen. p. 204. <a href="ISBN_(identifier)" class="mw-redirect" title="ISBN (identifier)">ISBN</a> <bdi>9783822840788</bdi>. <a href="OCLC_(identifier)" class="mw-redirect" title="OCLC (identifier)">OCLC</a> <a rel="nofollow" class="external text" href="https://search.worldcat.org/oclc/809539744">809539744</a>.</cite></li></ul>

<div class="mw-heading mw-heading2"><h2 id="External_links">External links</h2></div>

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<div class="side-box-text plainlist">Wikimedia Commons has media related to <span style="font-weight: bold; font-style: italic;"><a href="https://commons.wikimedia.org/wiki/Category:Deconstructivism" class="extiw external" title="commons:Category:Deconstructivism">Deconstructivism</a></span>.</div></div>

</div>

<ul><li><a rel="nofollow" class="external text" href="https://web.archive.org/web/20051028034138/http://web.utanet.at/gack/Wiener%20Postmoderne.htm">Wiener Postmoderne</a> <span class="languageicon">(in German)</span></li>

<li>Vicente Esteban Medina (2003). <a rel="nofollow" class="external text" href="http://oa.upm.es/481/"><i>Forma y composición en la Arquitectura deconstructivista</i></a> <span class="languageicon">(in Spanish)</span></li></ul>

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</style></div><div role="navigation" class="navbox" aria-labelledby="Genres_of_modern_architecture336" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><div id="Genres_of_modern_architecture336" style="font-size:114%;margin:0 4em">Genres of <a href="Modern_architecture" title="Modern architecture">modern architecture</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">Alphabetically</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em">

<li><a href="Art_Nouveau" title="Art Nouveau">Art Nouveau</a></li>

<li><a href="Bauhaus" title="Bauhaus">Bauhaus</a></li>

<li><a href="Blobitecture" title="Blobitecture">Blobitecture</a></li>

<li><a href="Brutalist_architecture" title="Brutalist architecture">Brutalism</a></li>

<li><a href="Bowellism" title="Bowellism">Bowellism</a></li>

<li><a href="Constructivist_architecture" title="Constructivist architecture">Constructivism</a></li>

<li><a href="Contemporary_architecture" title="Contemporary architecture">Contemporary</a></li>

<li><a href="Critical_regionalism" title="Critical regionalism">Critical regionalism</a></li>

<li><a href="De_Stijl" title="De Stijl">De Stijl</a></li>

<li><a href="Expressionist_architecture" title="Expressionist architecture">Expressionism</a></li>

<li><a href="Functionalism_(architecture)" title="Functionalism (architecture)">Functionalism</a></li>

<li><a href="Futurist_architecture" title="Futurist architecture">Futurism</a></li>

<li><a href="Googie_architecture" title="Googie architecture">Googie</a></li>

<li><a href="International_Style_(architecture)" class="mw-redirect" title="International Style (architecture)">International style</a></li>

<li><a href="Metabolism_(architecture)" title="Metabolism (architecture)">Metabolism</a></li>

<li><a href="Mid-Century_modern" class="mw-redirect" title="Mid-Century modern">Mid-Century modern</a></li>

<li><a href="Modernisme" title="Modernisme">Modernisme</a></li>

<li><a href="Monumentalism" title="Monumentalism">Monumentalism</a></li>

<li><a href="Neo-Futurism" class="mw-redirect" title="Neo-Futurism">Neo-Futurism</a></li>

<li><a href="Neomodern" title="Neomodern">Neomodern</a></li>

<li><a href="New_Classical_architecture" title="New Classical architecture">New Classical</a></li>

<li><a href="New_Khmer_Architecture" title="New Khmer Architecture">New Khmer</a></li>

<li><a href="New_Objectivity_(architecture)" title="New Objectivity (architecture)">New Objectivity</a></li>

<li><a href="Organic_architecture" title="Organic architecture">Organicism</a></li>

<li><a href="Postconstructivism" title="Postconstructivism">Postconstructivism</a></li>

<li><a href="Postmodern_architecture" title="Postmodern architecture">Postmodernism</a></li>

<li><a href="PWA_Moderne" class="mw-redirect" title="PWA Moderne">PWA Moderne</a></li>

<li><a href="Prairie_School" title="Prairie School">Prairie School</a></li>

<li><a href="Fascist_architecture" title="Fascist architecture">Rationalist-Fascist</a></li>

<li><a href="Rondocubism" title="Rondocubism">Rondocubism</a></li>

<li><a href="Stalinist_architecture" title="Stalinist architecture">Stalinist</a></li>

<li><a href="Streamline_Moderne" title="Streamline Moderne">Streamline Moderne</a></li>

<li><a href="Stripped_Classicism" title="Stripped Classicism">Stripped Classicism</a></li>

<li><a href="Structuralism_(architecture)" title="Structuralism (architecture)">Structuralism</a></li>

<li><a href="Sustainable_architecture" title="Sustainable architecture">Sustainable</a></li>

<li><a href="Tropical_Modernism" title="Tropical Modernism">Tropical</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><div style="display: inline-block; line-height: 1.2em; padding: .1em 0;">By start year /<br>decade</div></th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Modernisme" title="Modernisme">Modernisme</a> <span style="font-size: 85%;">(1888–1911)</span></li>

<li><a href="Art_Nouveau" title="Art Nouveau">Art Nouveau</a> <span style="font-size: 85%;">(1890–1910)</span></li>

<li><a href="Prairie_School" title="Prairie School">Prairie School</a> <span style="font-size: 85%;">(1890s–1920s)</span></li>

<li><a href="Expressionist_architecture" title="Expressionist architecture">Expressionism</a> <span style="font-size: 85%;">(1910–)</span></li>

<li><a href="Stripped_Classicism" title="Stripped Classicism">Stripped Classicism</a> <span style="font-size: 85%;">(1913–)</span></li>

<li><a href="De_Stijl" title="De Stijl">De Stijl</a> <span style="font-size: 85%;">(1917–1931)</span></li>

<li><a href="Bauhaus" title="Bauhaus">Bauhaus</a> <span style="font-size: 85%;">(1919–1933)</span></li>

<li><a href="Constructivist_architecture" title="Constructivist architecture">Constructivism</a> <span style="font-size: 85%;">(1920–1932)</span></li>

<li><a href="Rondocubism" title="Rondocubism">Rondocubism</a> <span style="font-size: 85%;">(1921–1929)</span></li>

<li><a href="New_Objectivity_(architecture)" title="New Objectivity (architecture)">New Objectivity</a> <span style="font-size: 85%;">(1922–1933)</span></li>

<li><a href="Streamline_Moderne" title="Streamline Moderne">Streamline Moderne</a> <span style="font-size: 85%;">(1925–1950)</span></li>

<li><a href="Fascist_architecture" title="Fascist architecture">Rationalist-Fascist</a> <span style="font-size: 85%;">(1920s–1930s)</span></li>

<li><a href="International_Style_(architecture)" class="mw-redirect" title="International Style (architecture)">International style</a> <span style="font-size: 85%;">(1920s–)</span></li>

<li><a href="Functionalism_(architecture)" title="Functionalism (architecture)">Functionalism</a> <span style="font-size: 85%;">(1920s–1970s)</span></li>

<li><a href="Futurist_architecture" title="Futurist architecture">Futurism</a> <span style="font-size: 85%;">(1920s–)</span></li>

<li><a href="Organic_architecture" title="Organic architecture">Organicism</a> <span style="font-size: 85%;">(1920s–)</span></li>

<li><a href="Postconstructivism" title="Postconstructivism">Postconstructivism</a> <span style="font-size: 85%;">(1930s)</span></li>

<li><a href="PWA_Moderne" class="mw-redirect" title="PWA Moderne">PWA Moderne</a> <span style="font-size: 85%;">(1933–1944)</span></li>

<li><a href="Stalinist_architecture" title="Stalinist architecture">Stalinist</a> <span style="font-size: 85%;">(1930s–1950s)</span></li>

<li><a href="Googie_architecture" title="Googie architecture">Googie</a> <span style="font-size: 85%;">(1930s–1970)</span></li>

<li><a href="Mid-century_modern" title="Mid-century modern">Mid-century modern</a> <span style="font-size: 85%;">(1933–1969)</span></li>

<li><a href="Brutalist_architecture" title="Brutalist architecture">Brutalism</a> <span style="font-size: 85%;">(1940s–late 1970s)</span></li>

<li><a href="Tropical_Modernism" title="Tropical Modernism">Tropical</a> <span style="font-size: 85%;">(1958–)</span></li>

<li><a href="New_Khmer_Architecture" title="New Khmer Architecture">New Khmer</a> <span style="font-size: 85%;">(1953–1970)</span></li>

<li><a href="Structuralism_(architecture)" title="Structuralism (architecture)">Structuralism</a> <span style="font-size: 85%;">(1959–)</span></li>

<li><a href="Metabolism_(architecture)" title="Metabolism (architecture)">Metabolism</a> <span style="font-size: 85%;">(1959–)</span></li>

<li><a href="Postmodern_architecture" title="Postmodern architecture">Postmodernism</a> <span style="font-size: 85%;">(1960s–)</span></li>

<li><a href="Blobitecture" title="Blobitecture">Blobitecture</a> <span style="font-size: 85%;">(1960s–)</span></li>

<li><a href="Neo-futurism" title="Neo-futurism">Neo-futurism</a> <span style="font-size: 85%;">(1960s–)</span></li>

<li><a href="Critical_regionalism" title="Critical regionalism">Critical regionalism</a> <span style="font-size: 85%;">(1980s–)</span></li>

<li><a href="Neomodern" title="Neomodern">Neomodern</a> <span style="font-size: 85%;">(1990s–)</span></li>

<li><a href="New_Classical_architecture" title="New Classical architecture">New Classical</a> <span style="font-size: 85%;">(1990s–)</span></li>

<li><a href="Contemporary_architecture" title="Contemporary architecture">Contemporary</a> <span style="font-size: 85%;">(2000s–)</span></li></ul>

</div></td></tr><tr><td class="navbox-abovebelow" colspan="2"><div>

<ul><li><b><span class="nowrap"><span class="noviewer" typeof="mw:File"></span> </span><a href="Portal%3AArchitecture" title="Portal:Architecture">Architecture portal</a></b></li>

<li>Related articles</li></ul>

</div></td></tr></tbody></table></div>

<div class="navbox-styles"></div><div role="navigation" class="navbox" aria-labelledby="Architecture_of_the_United_States278" style="padding:3px"><table class="nowraplinks mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><div id="Architecture_of_the_United_States278" style="font-size:114%;margin:0 4em"><a href="Architecture_of_the_United_States" class="mw-redirect" title="Architecture of the United States">Architecture of the United States</a></div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">Native and indigenous</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Mound" title="Mound">Mound</a>

<ul><li><a href="Mound_Builders" title="Mound Builders">Builders</a></li></ul></li>

<li><a href="Pueblo_architecture" title="Pueblo architecture">Pueblo</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="American_colonial_architecture" title="American colonial architecture">Colonial and post-colonial</a></th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Creole_architecture_in_the_United_States" title="Creole architecture in the United States">Creole</a></li>

<li><a href="First_Period_architecture" title="First Period architecture">First Period</a></li>

<li><a href="Georgian_architecture#Colonial_Georgian_architecture" title="Georgian architecture">Colonial Georgian</a></li>

<li><a href="American_colonial_architecture#Dutch_Colonial" title="American colonial architecture">Dutch Colonial</a></li>

<li><a href="French_Colonial" class="mw-redirect" title="French Colonial">French Colonial</a></li>

<li><a href="American_colonial_architecture#German_Colonial" title="American colonial architecture">German Colonial</a></li>

<li><a href="Spanish_Colonial_architecture" title="Spanish Colonial architecture">Spanish Colonial</a>

<ul><li><a href="Territorial_Style" title="Territorial Style">Territorial</a></li></ul></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Early Republic</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<li><a href="Federal_architecture" title="Federal architecture">Federal</a></li>

<li><a href="Jeffersonian_architecture" title="Jeffersonian architecture">Jeffersonian</a></li>

<li><a href="Neoclassical_architecture" title="Neoclassical architecture">Neoclassical</a>

<ul><li><a href="Antebellum_architecture" title="Antebellum architecture">Antebellum</a></li></ul></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Mid-19th century</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Greek_Revival_architecture" title="Greek Revival architecture">Greek Revival</a></li>

<li><a href="Italianate_architecture" title="Italianate architecture">Italianate</a></li>

<li><a href="Gothic_Revival_architecture" title="Gothic Revival architecture">Gothic Revival</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%"><a href="Victorian_architecture" title="Victorian architecture">Victorian</a></th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Richardsonian_Romanesque" title="Richardsonian Romanesque">Richardsonian Romanesque</a></li>

<li><a href="Second_Empire_architecture_in_the_United_States_and_Canada" title="Second Empire architecture in the United States and Canada">Second Empire</a></li>

<li><a href="American_Renaissance" title="American Renaissance">American Renaissance</a></li>

<li><a href="Stick_style" title="Stick style">Stick style</a></li>

<li><a href="Queen_Anne_style_architecture_in_the_United_States" title="Queen Anne style architecture in the United States">Queen Anne</a></li>

<li><a href="Shingle_style_architecture" title="Shingle style architecture">Shingle</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Late-19th to<br>mid-20th century</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Art_Deco" title="Art Deco">Art Deco</a> (<a href="Streamline_Moderne" title="Streamline Moderne">Streamline Moderne</a>)</li>

<li><a href="American_Craftsman" title="American Craftsman">American Craftsman</a></li>

<li><a href="American_Foursquare" title="American Foursquare">American Foursquare</a></li>

<li><a href="Beaux-Arts_architecture" title="Beaux-Arts architecture">Beaux-Arts</a></li>

<li><a href="California_bungalow" title="California bungalow">California bungalow</a></li>

<li><a href="Chicago_school_(architecture)" title="Chicago school (architecture)">Chicago School</a></li>

<li><a href="Colonial_Revival_architecture" title="Colonial Revival architecture">Colonial Revival</a></li>

<li><a href="Dutch_Colonial_Revival_architecture" title="Dutch Colonial Revival architecture">Dutch Colonial Revival</a></li>

<li><a href="Georgian_Revival_architecture" class="mw-redirect" title="Georgian Revival architecture">Georgian Revival</a></li>

<li><a href="Googie_architecture" title="Googie architecture">Googie</a></li>

<li><a href="International_Style_(architecture)" class="mw-redirect" title="International Style (architecture)">International style</a></li>

<li><a href="Mayan_Revival_architecture" title="Mayan Revival architecture">Mayan Revival</a></li>

<li><a href="Mediterranean_Revival_architecture" title="Mediterranean Revival architecture">Mediterranean Revival</a></li>

<li><a href="Mission_Revival_architecture" title="Mission Revival architecture">Mission Revival</a></li>

<li><a href="Pueblo_Revival_architecture" title="Pueblo Revival architecture">Pueblo Revival</a>

<li><a href="Prairie_School" title="Prairie School">Prairie School</a></li>

<li><a href="PWA_Moderne" class="mw-redirect" title="PWA Moderne">PWA Moderne</a></li>

<li><a href="Sarasota_School_of_Architecture" title="Sarasota School of Architecture">Sarasota School of Architecture</a></li>

<li><a href="National_Park_Service_rustic" title="National Park Service rustic">Rustic</a></li>

<li><a href="Spanish_Colonial_Revival_architecture" title="Spanish Colonial Revival architecture">Spanish Colonial Revival</a></li>

<li><a href="Territorial_Revival_architecture" title="Territorial Revival architecture">Territorial Revival</a></li>

<li><a href="Tudor_Revival_architecture" title="Tudor Revival architecture">Tudor Revival</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Post–World War II</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Blobitecture" title="Blobitecture">Blobitecture</a></li>

<li><a href="Brutalist_architecture" title="Brutalist architecture">Brutalist</a></li>

<li><a href="Dingbat_(building)" title="Dingbat (building)">Dingbat</a></li>

<li><a href="Earthship" title="Earthship">Earthship</a></li>

<li><a href="Mid-century_modern" title="Mid-century modern">Mid-century modern</a></li>

<li><a href="Modern_architecture" title="Modern architecture">Modern</a></li>

<li><a href="Neo-eclectic_architecture" title="Neo-eclectic architecture">Neo-eclectic</a></li>

<li><a href="Neo-futurism" title="Neo-futurism">Neo-futurism</a></li>

<li><a href="Neomodern" title="Neomodern">Neomodern</a></li>

<li><a href="New_Classical_architecture" title="New Classical architecture">New Classical architecture</a></li>

<li><a href="Postmodern_architecture" title="Postmodern architecture">Postmodern</a></li>

<li><a href="Ranch-style_house" title="Ranch-style house">Ranch</a></li>

<li><a href="Shed_style" title="Shed style">Shed style</a></li>

<li><a href="Tiny-house_movement" title="Tiny-house movement">Tiny-house</a></li>

<li><a href="Usonia" title="Usonia">Usonian</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Building types and vernacular</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Adirondack_Architecture" title="Adirondack Architecture">Adirondack</a></li>

<li><a href="Adobe" title="Adobe">Adobe</a></li>

<li><a href="Barabara" title="Barabara">Barabara</a></li>

<li><a href="Central-passage_house" title="Central-passage house">Central-passage house</a></li>

<li><a href="Chickee" title="Chickee">Chickee</a></li>

<li><a href="Cowboy_church" title="Cowboy church">Cowboy church</a></li>

<li><a href="Critical_regionalism" title="Critical regionalism">Critical regionalism</a></li>

<li><a href="Dogtrot_house" title="Dogtrot house">Dogtrot house</a></li>

<li><a href="Earth_lodge" title="Earth lodge">Earth lodge</a></li>

<li><a href="Hogan" title="Hogan">Hogan</a></li>

<li><a href="Hall_and_parlor_house" title="Hall and parlor house">Hall and parlor house</a></li>

<li><a href="I-house" title="I-house">I-house</a></li>

<li><a href="Igloo" title="Igloo">Igloo</a></li>

<li><a href="Jacal" title="Jacal">Jacal</a></li>

<li><a href="Log_cabin" title="Log cabin">Log cabin</a></li>

<li><a href="Longhouses_of_the_Indigenous_peoples_of_North_America" title="Longhouses of the Indigenous peoples of North America">Longhouses</a></li>

<li><a href="Moki_steps" title="Moki steps">Moki steps</a></li>

<li><a href="Plank_house" title="Plank house">Plank house</a></li>

<li><a href="Platform_mound" title="Platform mound">Platform mound</a></li>

<li><a href="Qargi" title="Qargi">Qargi</a></li>

<li><a href="Quiggly_hole" title="Quiggly hole">Quiggly hole</a></li>

<li><a href="Ramada_(shelter)" title="Ramada (shelter)">Ramada</a></li>

<li><a href="Saltbox_house" title="Saltbox house">Saltbox</a></li>

<li><a href="Shotgun_house" title="Shotgun house">Shotgun house</a></li>

<li><a href="Sipapu" title="Sipapu">Sipapu</a></li>

<li><a href="Skyscraper" title="Skyscraper">Skyscraper</a></li>

<li><a href="Sod_house" title="Sod house">Sod house</a></li>

<li><a href="Sweat_lodge" title="Sweat lodge">Sweat lodge</a></li>

<li><a href="Temples_of_The_Church_of_Jesus_Christ_of_Latter-day_Saints" class="mw-redirect" title="Temples of The Church of Jesus Christ of Latter-day Saints">Temples</a></li>

<li><a href="Town_square" title="Town square">Town square</a></li>

<li><a href="Tupiq" title="Tupiq">Tupiq</a></li>

<li><a href="Wigwam" title="Wigwam">Wigwam</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Cities</th><td class="navbox-list-with-group navbox-list navbox-odd hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Architecture_of_Atlanta" title="Architecture of Atlanta">Atlanta</a></li>

<li><a href="Architecture_of_Boston" title="Architecture of Boston">Boston</a></li>

<li><a href="Architecture_of_Buffalo%2C_New_York" title="Architecture of Buffalo, New York">Buffalo</a></li>

<li><a href="Architecture_of_Chicago" title="Architecture of Chicago">Chicago</a></li>

<li><a href="Architecture_of_Columbus%2C_Ohio" title="Architecture of Columbus, Ohio">Columbus</a></li>

<li><a href="Architecture_of_metropolitan_Detroit" title="Architecture of metropolitan Detroit">Detroit</a></li>

<li><a href="Architecture_of_Houston" title="Architecture of Houston">Houston</a></li>

<li><a href="Architecture_of_Jacksonville" title="Architecture of Jacksonville">Jacksonville</a></li>

<li><a href="Architecture_of_Kansas_City" title="Architecture of Kansas City">Kansas City</a></li>

<li><a href="Architecture_of_Las_Vegas" title="Architecture of Las Vegas">Las Vegas</a></li>

<li><a href="Architecture_of_Los_Angeles" class="mw-redirect" title="Architecture of Los Angeles">Los Angeles</a></li>

<li><a href="Miami_Modern_architecture" title="Miami Modern architecture">Miami</a></li>

<li><a href="Buildings_and_architecture_of_New_Orleans" title="Buildings and architecture of New Orleans">New Orleans</a></li>

<li><a href="Architecture_in_Omaha%2C_Nebraska" title="Architecture in Omaha, Nebraska">Omaha</a></li>

<li><a href="Architecture_of_Philadelphia" title="Architecture of Philadelphia">Philadelphia</a></li>

<li><a href="Architecture_of_Portland%2C_Oregon" title="Architecture of Portland, Oregon">Portland</a></li>

<li><a href="Architecture_of_San_Antonio" title="Architecture of San Antonio">San Antonio</a></li>

<li><a href="Architecture_of_San_Francisco" title="Architecture of San Francisco">San Francisco</a></li>

<li><a href="Architecture_of_Seattle" title="Architecture of Seattle">Seattle</a></li>

<li><a href="Architecture_of_Spokane%2C_Washington" title="Architecture of Spokane, Washington">Spokane</a></li>

<li><a href="Architecture_of_St._Louis" title="Architecture of St. Louis">St. Louis</a></li>

<li><a href="Architecture_of_Washington%2C_D.C." title="Architecture of Washington, D.C.">Washington, D.C.</a></li></ul>

</div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">States</th><td class="navbox-list-with-group navbox-list navbox-even hlist" style="width:100%;padding:0"><div style="padding:0 0.25em">

<ul><li><a href="Architecture_of_the_California_missions" title="Architecture of the California missions">California</a></li>

<li><a href="Hawaiian_architecture" title="Hawaiian architecture">Hawaii</a></li>

<li><a href="Architecture_of_Texas" title="Architecture of Texas">Texas</a></li></ul>

</div></td></tr></tbody></table></div>

<div class="navbox-styles"></div><div role="navigation" class="navbox authority-control" aria-labelledby="Authority_control_databases_frameless&#124;text-top&#124;10px&#124;alt=Edit_this_at_Wikidata&#124;link=https&#58;//www.wikidata.org/wiki/Q238255#identifiers&#124;class=noprint&#124;Edit_this_at_Wikidata644" style="padding:3px"><table class="nowraplinks hlist mw-collapsible autocollapse navbox-inner" style="border-spacing:0;background:transparent;color:inherit"><tbody><tr><th scope="col" class="navbox-title" colspan="2"><div id="Authority_control_databases_frameless&#124;text-top&#124;10px&#124;alt=Edit_this_at_Wikidata&#124;link=https&#58;//www.wikidata.org/wiki/Q238255#identifiers&#124;class=noprint&#124;Edit_this_at_Wikidata644" style="font-size:114%;margin:0 4em">Authority control databases </div></th></tr><tr><th scope="row" class="navbox-group" style="width:1%">National</th><td class="navbox-list-with-group navbox-list navbox-odd" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://id.loc.gov/authorities/sh89002744">United States</a></span></li><li><span class="uid"><a rel="nofollow" class="external text" href="https://www.nli.org.il/en/authorities/987007546553305171">Israel</a></span></li></ul></div></td></tr><tr><th scope="row" class="navbox-group" style="width:1%">Other</th><td class="navbox-list-with-group navbox-list navbox-even" style="width:100%;padding:0"><div style="padding:0 0.25em"><ul><li><span class="uid"><a rel="nofollow" class="external text" href="https://lux.collections.yale.edu/view/concept/bd9369f6-a558-4f7f-b245-8e8f5ca25abe">Yale LUX</a></span></li></ul></div></td></tr></tbody></table></div></div><div><div class="zim-footer">

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