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. If we look at the front facade of Guild house it is hard to tell that this is a six story building-here Venturi uses his ambiguity theory to visually confuse the scale of the building. It is very clear that Venturi uses his theory and applies to certain details like ornaments, as well as to the building as a whole. He works with developed philosophies very closely, looking at example of ambiguity in all aspects of the building.
Figure 2: Guild House, 1964.
Lieb House
In 1969 Lieb house was completed. Now it is an icon of architecture which recently in 2012 was saved from being demolished at its original site in New Jersey, and moved to Glen Cove, New York. It is a summer, guesthouse structure, described as “banal box” by its creator Robert Venturi. This project reveals an influence of Pop art, and direct inspiration from artists like Andy Warhol. The famous number 9 and elements used to design windows are reference to Pop art and its contradictions of scale and context. This project has been saved, as it is considered as one of the most impor tant in Robert Venturi’s career and was sold for $1, because Figure 3: Lieb House, saving of the transportation cost was so enormous ($100000). building. “Las Vegas Strip”
In Robert Venturi’s second book “Learning from Las Vegas” he argues that ornamental and decorative elements “. He thinks that existing needs for variety and communication”. Similarly to he first book which was a collection of Robert Venturi’s research on Architecture, second book was a research trip to Las Vegas with bunch of students from Yale School of Architecture in 1968. Robert Venturi together with Denisse Scott Brown and Steven Izenour led students to research called “Las Vegas Strip”. It was in depth-analysis and documentation of Las Vegas popular culture of advertising.
By taking inviting students into the research I think Robert Venturi wanted to collect how the young and upcoming designers see development of architecture and their views on it. By film making and use of photography they were able to document the research in an original way, which was considered as a very refreshing way of looking at the city. Again by doing this Venturi has proven again that he is challenging practicing methods of documenting, analysing and researching architecture in a very creative and original way at those times. Once again he was able to prove many people wrong that architectural research can be very different to scientific or historic research and it is equally important.
Venturi, Scott Brown and Izenour published the folio in 1972 containing work produced by students from a study trip and used for theory development. It was called: “A Significance for A&P Parking Lots, or Learning from Las Vegas” Then in 1977 it was revised as :”Learning from Las Vegas: the Forgotten Symbolism of Architectural Form”.
Figure 4: Some of the photographies from the Archive from Robert Venturi’s documentation of the “Las Vegas Strip”. “Learning from Las Vegas”
Robert Venturi in his second book “Learning from Las Vegas: the Forgotten Symbolism of Architectural Form” carries on to critise and depict orthodox modernist elements and tastes of architecture. The book recalls terms :”Duck” and “Decorated Shed”- and in this simple way it identifies two main ways of representing appearance of the buildings. The book created a controversy, however it was a healthy touch on architectural theory content that was out there at the time.
Robert Venturi allows himself to reprimand architects to focus on people’s needs, rather than to put effort in creating “heroic” and “self-aggrandising monuments”. Using photos Venturi clearly showed how seductive architecture of Las Vegas appears.Fascination comes with all of the striking advertisement, lighting on the streets or the entrances to the casinos. He called Las Vegas: “multi-faceted and contradictory city which exists in mockery of modern ideals. I do agree with him, especially looking at the photos we can recognise that the appearance of the city is not close to people, especially not to ordinary people-it is closer to imagined, “Heroic” and “self- aggrandising monument” that celebrates hazard and nightlife which contrasts morals developed by Robert Venturi as a quaker. Robert Venturi very intellectually explains his points about “Duck” and “Decorated Shed” terms in the more theoretical part of the book.
Robert Venturi borrows a lot from Pop art. When he was upcoming architect, he realised that Pop art culture has a great influence on advertisement and labelling. Architecture didn’t have such tools. Designers back then, were fascinated by gas stations full of advertisements and colourful, enormous labels.The terms :”Duck” and “Decorated Shed” were were illustrated. By taking a photo of of the duck from Peter Blake’s work,(pop art icon) “God’s Own Junkyard. The Planned Deterioration of America’s Landscape, 1964 showing a fast food which specialises in poultry on one of the American country roads. It was literally a huge Duck-construction or a sculpture in its own right. Then he writes about a decorated shed in contrast, which is only a functional box with decorations and signs. Advertisement acts like a second front wall, a fake wall. These are totally independent cases of its function and nothing more to it. Its Architecture, however interesting it’s very limited.
Robert Venturi accepts Architecture in this form. He thinks it is justified, because he refers to Cathedral of Amien as a giant advertisement with a shed behind. By making this historical reference he also comments that The Cathedral remains symbolic form of a duck. It is a very provocative hypothesis. Therefore Venturi explains that there is a place for a function-oriented shed with some ornaments and symbols. He refers to his early work: Guild House to justify his opinion.
Figure 4: Some of the photographies from the Archive from Robert Venturi’s documentation of the “Las Vegas Strip”. Figure 4: “The Duck”. Figure 5: “Duck and Decorated Shed”. Project analysis-National Gallery in London-The Sainsbury’s Wing
Robert Venturi and Associates designed an extension to National Gallery in London, The Sainsbury’s Wing, which was completed in 1999. Here once again Robert Venturi follows up the idea of complex design. It was a design which won the competition launched. When Robert Venturi talks in one of the interviews about the building, he starts describing the facade, but then almost automatically he stops and goes back and says: “It is very important to look at the context”. This learnt gesture proves of his theory being implied in every design. He talks about the surrounding first, about location of the building. Also he mentions the 1830s National Gallery of Art building which his design it’s an extension for. However he distinguishes between extension and continuation of the building. He means that his design it’s not a simple extension. It is a continuation, part of the existing building, therefore it’s aesthetics refer to the 1830s classical architecture. What’s very interesting it’s the manipulation of architectural elements, and rhythm recognised within the facade of National Gallery. He points out in his speech, the columns and the rhythm they have, described as kind of complex rhythm. What is implemented from this element it’s basically a copy of the same columns and pilasters but giving a different rhythm to the composition. It is described as jazzy rhythm, which juxtaposes the classical rhythm of the old part of the building. What Robert Venturi implies here is follow up to his theory of complexity and contradiction and ornamental approach. He uses elements as a historical reference, but arranges them in such a way that it has a reference to different kind of music. Also music appears here, since we are talking about Art, music as art it’s very relevant. He once again applies ambiguity to his architecture by stating that on one hand design it’s a continuation of the building. However on the other hand he points out that the building wants to acknowledge its position on the piazza and to enhance the quality of the square. The fact that the copied elements were a fundamental element to the design, it had left modernists horrified. It was done purposely, so the emphasis on criticising modern architecture stays with Robert Venturi. Modernist would use that to critise Venturi-elements are not correctly historical, because of jazzy rhythm, but not a classical rhythm. Robert Venturi says that he loves this building and connects with his practice very much and illustrates its character.
Figure 6: Sainsbury Wing, Extension to National Gallery in London designed by Robert Venturi. Robert Venturi- Denise the Menace of the Architecture.
Robert Venturi demonstrates his theories in his work very successfully. Just by looking on a classic selection of his most famous work: Vanna Venturi House, Seattle Art Museum, Guild House or Lieb house we can see by our first look on these buildings that they are completely different to each other and that they are following his statements on complexity, layers of meaning as well as individual approach to their surroundings. What it’s really important its to say that Robert Venturi managed to revolutionise an old revolution-modernism. He is constant in his criticism of modern architecture. He has rejected a corporative world of architects who were not interested in the real people. Dennise Scott Brown a person who have been with Robert Venturi as an architectural and life partner said: “We had to fight an old revolution with a new ordinariness”. She has also said that they were not interested to learn from corporative architects culture :”We learn more from naive level of form making, it;s like Beethoven borrowing folk songs for string quartet. We are not trying to be avant-garde. In this era to be unheroic to be conventional it’s to be unconventional. It’s harder to be good, than original”. This couple of sentences proves how important architecture for people and multi-complexity as well as symbolism of the past was a key to postmodern pioneer Robert Venturi.
Figure 7: Robert Venturi- Denise the Menace of the Architecture. Conclusion
Robert Venturi as a revolutionist applies revolution within architecture field everywhere. In the theory, in the designing practice, in research practice on architecture as well as in approach to people. His theory has a golden value to not only designers but also to general public, he respects morals and respect other people at every level of his life and work. He is against people who are closed off in their corporative world, closed off and surrounded by steel and glass. His ideology and approach to architecture it’s something that looks at needs of people, rather than creates a product. It creates ideology, sense of belonging as well as uniqueness and individuality-it’s a very humanistic agenda, as we are all different to each other. His clear and radical approach to criticise modernism was based on a great value-value of equality. And this is where I understood development of our society, that through design we are trying to make it individual to the user, but at the same time, we treat everyone equally by providing sense of understanding life beyond architecture. This is what makes Venturi’s philosophies on design beautiful. Bibliography
Books: “Complexity and Contradiction in Architecture” Robert Venturi “Learning from Las Vegas” Robert Venturi
Internet: Interviews: American Architecture Now: Robert Venturi, Denise Scott Brown, 1984 http://www.youtube.com/watch?v=u4RJcNHWu7Y
Robert Venturi: Architecture’s Improper Hero http://www.youtube.com/watch?v=BPuM7_5QPAg
Robert Venturi on designing the Sainsbury Wing of the National Gallery in London http://www.youtube.com/watch?v=5-_hmXaWTkw
Articles:
AD Round Up: Iconic Houses in America http://www.archdaily.com/tag/robert-venturi/
Lieb House, Saved http://tmagazine.blogs.nytimes.com/2012/02/08/domesticities-lieb-house-saved/
A Fond Farewell to Robert Venturi, the Architect Who Taught Us to Stop Worrying and Love Las Vegas http://www.vanityfair.com/online/daily/2012/08/farewell-to-robert-venturi-las-vegas-architect
Robert Venturi retires, and firm renames http://archinect.com/news/article/54221695/robert-venturi-retires-and-firm-renames
Other Websites: http://www.greatbuildings.com/architects/Robert_Venturi.html http://architecture.about.com/od/greatarchitects/p/venturi.htm http://venturiscottbrown.org/ http://architect.architecture.sk/robert-venturi-architect/robert-venturi-architect.php http://www.grahamfoundation.org/public_exhibitions/3878 Lectures review:
Postmodernism- A review of Theory Site Specific Acts Space- Time Movement Extrac from “Learning from Las Vegas” word count: 3194