因此，导致了他的探索，旨在更严格的形式主义，甚至比现代主义后现代主义的新风格，希望返回到历史。在20世纪90年代，在反对的保守男高音的许多建筑生产，前卫级的建筑师，其中包括雷姆·库哈斯（Rem Koolhaas），一组被称为现代主义的形式和抽象的复兴。后现代主义，另一种道歉的建筑风格出现了 – 解构主义。它采取了对抗的姿态朝着多的建筑在建筑的历史。它是反对的纯度，净度和简单的现代主义，想要脱离和拆卸架构，创建复杂的几何形式和现代材料与缺乏装饰（法齐奥，2009）。一些从业人员，特别是弗兰克·盖里（Frank Gehry），伯纳德·屈米和彼得·艾森曼强调破碎和分离，而不是传统的团结和合成。弗兰克·盖里（Frank Gehry）的毕尔巴鄂古根海姆博物馆（Guggenheim Museum）（1997）是著名的解构主义建筑的例子，其弯曲的钛皮肤之一。
美国代写assignment之ARCHITECTURE
As such, his explorations led to the new style of post-modernism, hoped for return to history, aimed for formalism more rigorous than even that of the modernists. In 1990s, in opposition to the conservative tenor of much architectural production, a group of Avant grade architects, among them Rem Koolhaas, called for a revival of modernist forms and abstractions. Following post-modernism, another unapologetically style of architecture was emerged – Deconstructivism. It took a confrontational stance toward much of architecture in architectural history. It was argues against the purity, clarity and simplicity of modernism, wanting to disjoin and disassemble architecture, create complex geometrical forms and modern materials with a lack of ornament (Fazio, 2009). Some practioners, notably Frank Gehry, Bernard Tschumi and Peter Eisenman emphasizes fragmentation and dissociation rather than traditional unity and synthesis. The Frank Gehry’s Guggenheim Museum (1997) in Bilbao is one of the notable deconstructivism examples with its curved titanium skin.
