But a high-tech strand of modernism persisted in parallel with a formally retrogressive post-modernism; one that often championed "progress" by celebrating, if not exposing, structure and systems engineering. Such technological virtuosity can be discovered during this time in the work of Norman Foster, Renzo Piano, and Richard Rogers, the latter two having designed the controversial Pompidou Centre (1977) in Paris, which opened to international acclaim. What this so‑called high-tech architecture showed was that an industrial aesthetic—an architecture characterized as much by urban grittiness as engineering efficiency—had popular appeal. This was also somewhat evident in so‑called Deconstructionist architecture, such as the employment of chainlink fencing, raw plywood and other industrial materials in designs for residential and commercial architecture. Arguably the most notable practitioner along these lines, at least in the 1970s, is the now internationally renowned architect Frank Gehry, whose house in Santa Monica, California, bears these characteristics.