In Vienna, the idea of a radically new modern architecture had many theorists and proponents. An early use of the term "modern architecture" in print occurred in the title of a book by Otto Wagner, who gave examples of his own work representative of the Vienna Secession with art nouveau illustrations, and didactic teachings to his students. Soon thereafter, Adolf Loos wrote "Ornament 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.