[2] Besides fragmentation, deconstructivism often manipulates the structure's surface skin and deploys non-rectilinear shapes which appear to distort and dislocate established elements of architecture.

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 PoMo, which he said involved "making Doric temple forms out of plywood".

The New York exhibition has featured works by Frank Gehry, Daniel Libeskind, Rem Koolhaas, Peter Eisenman, Zaha Hadid, Coop Himmelb(l)au, and Bernard Tschumi.

[citation needed] In addition to Oppositions, a defining text for both deconstructivism and postmodernism was Robert Venturi's Complexity and Contradiction in Architecture (1966).

This is close to the thesis of Venturi's next major work,[7] that signs and ornament can be applied to a pragmatic architecture, and instill the philosophic complexities of semiology.

One example of deconstructivist complexity is Frank Gehry's Vitra Design Museum in Weil-am-Rhein, which takes the typical unadorned white cube of modernist art galleries 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.

[citation needed] The main channel from deconstructivist philosophy to architectural theory was through the philosopher Jacques Derrida's influence with Peter Eisenman.

Eisenman drew some philosophical bases from the literary movement Deconstruction, and collaborated directly with Derrida on projects including an entry for the Parc de la Villette competition, documented in Chora l Works.

Both Derrida and Eisenman, as well as Daniel Libeskind[8] were concerned with the "metaphysics of presence", and this is the main subject of deconstructivist philosophy in architecture theory.

Gehry altered its massing, spatial envelopes, planes and other expectations in a playful subversion, an act of "de"construction"[12] 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[13] found their way into deconstructivist memorials.

Artists Naum Gabo, El Lissitzky, Kazimir Malevich, and Alexander Rodchenko, have influenced the graphic sense of geometric forms of deconstructivist architects such as Zaha Hadid and Coop Himmelb(l)au.

The internal disorder produces the bar while splitting it even as gashes open up along its length.Two strains of modern art, minimalism and cubism, have had an influence on deconstructivism.

The angular forms of the Ufa Cinema Center by Coop Himmelb(l)au recall the abstract geometries of the numbered paintings of Franz Kline, 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 Ernst Ludwig Kirchner.

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.

Ghost (1990), an entire living space cast in plaster, solidifying the void, alludes to Derrida's notion of architectural presence.

Mark Wigley and Philip Johnson curated the 1988 Museum of Modern Art exhibition Deconstructivist architecture, which crystallized the movement, and brought fame and notoriety to its key practitioners.

The architects presented at the exhibition were Peter Eisenman, Frank Gehry, Zaha Hadid, Coop Himmelblau, Rem Koolhaas, Daniel Libeskind, and Bernard Tschumi.

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.Computer-aided design is now an essential tool in most aspects of contemporary architecture, but the particular nature of deconstructivism makes the use of computers especially pertinent.

[17] Nikos Salingaros 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.

[18] 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.

[9] 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.