and Crime, and while his own style is usually seen in the context of the Jugendstil, his demand for "the elimination of ornament" joined the slogan "form follows function" as a principle of the architectural so-called Modern Movement that came to dominate the mid-20th century. Walter Gropius, Ludwig Mies van der Rohe and Le Corbusier provided the theoretical basis for the International Style with aims of using industrialised architecture to reshape society. Frank Lloyd Wright, while modern in rejecting historic revivalism, was idiosyncratic in his theory, which he conveyed in copious writing. Wright did not subscribe to the tenets of the International Style, but evolved what he hoped would be an American, in contrast to a European, progressive course. Wright's style, however, was highly personal, involving his particular views of man and nature. Wright was more poetic and firmly maintained the 19th-century view of the creative artist as unique genius. This limited the relevance of his theoretical propositions. Towards the end of the century postmodern architecture reacted against the austerity of High Modern (International Style) principles, viewed as narrowly normative and doctrinaire. Contemporary In contemporary architectural discourse theory has become more concerned with its position within culture generally, and thought in particular. This is why university courses on architecture theory may often spend just as much time discussing philosophy and cultural studies as buildings, and why advanced postgraduate research and doctoral dissertations focus on philosophical topics in connection with architectural humanities. Some architectural theorists aim at discussing philosophical themes, or engage in direct dialogues with philosophers, as in the case of Peter Eisenman's and Bernard Tschumi's interest in Derrida's thought, or Anthony Vidler's interest in the works of Freud and Lacan, in addition to an interest in Gaston Bachelard's Poetics of Space or texts by Gilles Deleuze. This has also been the case with educators in academia like Dalibor Vesely or Alberto-Perez Gomez, and in more recent years this philosophical orientation has been reinforced through the research of a new generation of theorists (E.G. Jeffrey Kipnis or Sanford Kwinter). Similarly, we can refer to contemporary architects who are interested in philosophy and cultural studies. Some are interested in phenomenology and neuroaesthetics, like Sarah Williams Goldhagen, Sarah Robinson, and Christian Norberg-Schulz, or specialize as philosophers and historians of science, such as Nader El-Bizri who is also a notable phenomenologist (especially in Heidegger studies). Others, like Beatriz Colomina and Mary McLeod, expand