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Design Theories and Revolutions Robert Venturi

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Design Theories and Revolutions Robert Venturi Design Theories and Revolutions Robert Venturi Postmodern Denise the Menace of the Architecture By Gracjan Labowicz Intro Designers use many various ways to portray their ideas. What’s very special and what intrigues me the most is the fact that using different ways of communications they are able to describe a vision from their own perspective-their own sense of something in their own style. Either way: they actually describe it-write about it or produce images, that are projecting a thought into something physical (building, drawing, piece of writing). Robert Venturi, a theorist, revolutionist and a inspiring designer through his books: “Complexity and Contradiction in Architecture” 1966 and “Learning from Las Vegas” 1972 gained enormous recognition in architectural design field, but also have revolutionised ideas at the end of 20th century. Particularly the book “Complexity and Contradiction in Architecture” is described as the single most important book on a subject since Le Corbusier’s ‘Vers Une Architecture’. Robert Venturi published his first book “Complexity and Contradiction in Architecture” thanks to Museum of Modern Art Papers on Architecture in New York. It had to be done this way, otherwise Venturi couldn’t get sponsorship. Robert Venturi stressed that Architectural research is not treated in the same way as industrial or scientific research. He talks about “inverted scale of values” as part of the research system promoted by business and government. He pointed out that Architectural research is very important, because what’s left after Architects intervention is a real building, real imprint on worlds surface, that will always remain a part of landscape. He also points out that such a research its a valuable investment for future. It will avoid “honky tonk elements” in the environment. Adolf Loos, pioneer and orthodox modernist says: “I have no need whatsoever to draw my designs. Good architecture, how something is to be built, can be written. One can write the Parthenon.”. Le Corbusier also follows up that idea by saying: “Architecture is made inside one’s head. The sheet of paper it’ only to fix the design, to transmit it to one’s client and one’s to contractor.” Le Corbusier wrote around 5000 words each month about architecture-he was publishing a lot of reading material through his career. They both mean that design and architecture are carrying a lot more than drawings and material indication or cost of the building-it carries philosophy and a deeper message, but more importantly an idea rather than product. Robert Venturi used writing and publishing to critise the ugly, banal, symbolic modern Architecture. His ideas and designs were getting substantial notoriety after publication of his first book due to contrasting ideas about architecture against modern architecture. His gentle but very argumented way of writing supported with photographic evidence in his work, gained him respect and was seen as a refreshing wave into the practicing side of architecture. Robert Venturi- education and career achievements Robert Venturi is more than a designer. He is a theorist,revolutionist who made a strong impact on a mindset of many architects in 20th and 21st century. Robert Venturi was born in Philadelphia in 1925. Robert Venturi had a successful academic period in his life( Episcopal Academy in Merion, Pennsylvania, graduation summa cum laude from Princeton University in 1947 where he was a member-elect of Phi Beta Kappa and won the D’Amato Prize in Architecture, M.F.A. from Princeton in 1950, awarded the Rome Prize Fellowship at the American Academy in Rome in 1954). In 1958 Robert Venturi went freelance in Philadelphia. After 6 years he went into a partnership with John Rauch and 3 years later Denise Scott Brown has joined them, on the same year Robert Venturi and Denise Scott Brown got married. “Non-straightforward Architecture: A Gentle Manifesto.” Robert Venturi’s research and book “Complexity and Contradiction in Architecture” was published by the Museum of Modern Art in New York in 1966. Referenced as manifesto it was an epoch-making change and influenced the development of architecture as well revolutionised ideas at the end of 20th century. Robert Venturi critise’s modernists attitude and approach to Architecture. He thinks designing needs to be valid, natural, sort of organic. He promotes “both and” scenario-where there is hierarchy which leads to contrasts, layers and levels of meanings. He perceives the messiness as more truthful and encourages architects to forget about “the truth in its totality”. He thinks that richness can contrast with clarity, and believes that such an approach is far more useful than hyper-logical, over planned modern form of construction. He attacks modern architecture by phrasing “Complexity and Contradiction vs. Simplification or Picturesqueness” and strikeouts the importance of sophistication and diversity which he believes is lost in modernists attitude and treatment of Architecture. Robert Venturi designs are based on the philosophy of “Complexity and Contradiction”. He stressed the importance of multiple meanings in design. In “Complexity and Contradiction” Venturi shows his way of perceiving architecture by stating the qualities that according to him are significant of good architecture. He values complexity and richness. He admires the buildings that are complex and rich and the ones in which the levels of perception are meshing and creating a working unity. Venturi introduces ambiguity, as one of the elements that is crucial in the architecture of complexity and contradiction. He provides almost a scientific explanation of the term: “The calculated ambiguity of expression is based on the confusion of experience as reflected in the architectural program”. Venturi it’s a revolutionist, but also an icon of post-modern movement. Famous quote “Less is bore”, adaptation of Mies Van der Rohe’s “Less is more” shows the escape from Modernism functionalism. Sensitivity to building’s context, client’s requirements and its history as well as surrounding its key which post-modern architects rely on when they design. He makes a clear distinction between simplicity and simpleness. Venturi thinks that the simpleness represented by modernists results in “architectural blandness”. Constant criticism of modern architecture made Robert Venturi a black sheep amongst other architects at the time. It was clear that such intelligent response towards modern masters like Ludvig Mies Van der Rohe was a sign of revolution. Vanna Venturi house-symbol of birth of postmodern architecture “The biggest small building of the second half of the twentieth century.” It was clear that from his early career Robert Venturi was implementing and experimenting architectural criticism of modernism. Vanna Venturi house (figure 1)-a very personal project to Venturi was a residence designed for his mother and built in 1962-1964. It was a rebellious act of implementation of his developing theories on architecture to real life. Monumental front facade it’s a achieved by manipulation of architectural elements such as windows to create misperception on buildings scale. The design remains as symbol of Venturi’s open challenge against orthodoxy of modernists. The development of an approach to architectural theory and design that Robert Venturi drew from architectural history in analytical, as opposed to stylistic, terms. It’s a five room house which is only 9 metres tall at the top chimney. It is an ambiguity, with non-structural arch and a “hole in the wall” windows. The whole house it’s a protest against modernist architecture, and it was designed along with writing “Complexity and Contradiction in Architecture”. Many of the features of the house are reaction depicting standard modernist architecture, for example the roof, it is pitched, not flat. Ground floor isn’t open, transparent like most modernist creations. Comparing Vanna Venturi House by Robert Venturi and Farnsworth House by Ludwig Mies van Der Rohe we can see application of theories into design very clearly on the front elevations of the both houses-decorations, closed (privacy) front façade, ornaments, and broken gable are all layers of meanings, which is a complete opposite to Farnsworth house, where everything is so simple, almost banal. Front façade of Vanna Venturi house portrays as Robert Venturi says: “a child’s drawing of a house”. He has also written, “This building recognises complexities and contradictions: it is both complex and simple, open and closed, big and little; some of its elements are good on one level and bad on another its order accommodates the generic elements and of the house in general, and the circumstantial elements of a house in particular.”. Figure 1: Vanna Venturi House, designed in1962, one of the early designs of Robert Venturi. Guild House Another very clear example of manifestation and implementation of Robert Venturi’s theories is the Guild House, residential building in Philadelphia, Pennsylvania completed in 1963. Guild house was designed specially for ow-income senior citizens and was commissioned by a Quaker organisation. Robert Venturi was a member of Quakers-a religious movement. It is clear that Robert Venturi in his early career was designing under close relationship with project. It was an opportunity to apply his theories into designs whilst working in environment which was close to his person. Guild house represents represents complete rejection of modernist ideals and it is known as development of postmodern movement. The level of detail and relation to certain aspects of Robert Venturi’s philosophies is incredible. Purposely used dark brick and not so beautiful double-hung windows are reminiscent of existing public housing projects in the area. Ornamental details however, relate to lives of elderly. Symmetry in the facade which comes outward, contrasts and contradicts with classic entrance pavilion. Ambiguity aspect comes in with scale again, similarly to Vanna Venturi house. Highlighted ground floor with glazed brick, whilst string course in the middle of the fitfh floor terminates the facade.
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