non-contextual in their from and color, in favor of an intertextuality that leads to a dissolving of a priori meanings. the forms of the follies become signifiers as opposed to signified (which carries meaning) in order to mean nothing. the process of shaping the follies, and the ideas extrinsic to them, represents a conscious reaction to multiple meanings associated with jaques derrida's philosophy of deconstruction. it is futile to attempt a summation of derrida's philosophy, but this text defines it as the impossibility of one meaning in a text, or language in general, due to a deconstruction of language to its foundation, where multiple meanings can be found. unlike many of his contemporaries, though, tschumi's references to deconstruction take place at more than a formal level. although the follies are physically deconstructed, their intended lack of meaning relates his use of the philosophy to its essence, not stylistic applications.