Robert Venturi has been described as one of the most original talents in
contemporary architecture. He has also been credited with saving modern
architecture from itself. He has done this by being eloquent verbally with
his writings and visually with the forms of his buildings. Like other Pritzker
Architecture Prize Laureates before him, he is a writer, a teacher, an
artist and philosopher, as well as an architect.
Venturi graduated summa cum laude from Princeton University in 1947 and
received his M.F.A. there in 1950. He furthered his studies as a Rome Prize
Fellow at the American Academy in Rome from 1954 to 1956. Shortly after
his return to this country, he taught an architectural theory course at
the University of Pennsylvania, School of Architecture. In the past three
decades since, he has lectured at numerous other institutions including
Yale, Princeton, Harvard, UCLA, Rice and the American Academy in Rome.
In his first book, "Complexity and Contradiction in Architecture," published
in 1966 by the Museum of Modern Art, Venturi posed the question, "Is not
Main Street almost all right?" He was arguing for what he called "the messy
vitality" of the built environment. As he puts it, "We were calling for
an architecture that promotes richness and ambiguity over unity and clarity,
contradiction and redundancy over harmony and simplicity." He was challenging
Modernism with the multiple solutions available from history—a history
defined as relating not only to the specific building site, but the history
of all architecture. He wanted architecture to deal with the complexities
of the city, to become more contextual.
In his original preface to the book, Venturi states, "As an architect I
try to be guided not by habit but by a conscious sense of the past—by precedent,
thoughtfully considered." He continues later, "As an artist I frankly write
about what I like in architecture: complexity and contradiction. From what
we find we like—what we are easily attracted to—we can learn much of what
we really are."
It would be impossible to discuss Robert Venturi's writing without mentioning
his famous response, "Less is a bore," to modernist Mies van der Rohe's
dictum, "Less is more." This was Venturi's way "to make the point that
modern architecture had become too simplistic.
Venturi is an architect whose work cannot be categorized; to him, there
is never a single solution. Lest anyone try to pigeon-hole him as a postmodernist,
he declared that he was practicing modern architecture, and paraphrased
his own words earlier about Main Street, "the modern movement was almost
all right." emphasizing his close affinity to the basic tenets of modernism,
while still giving importance to human use, memories, comfort and entertainment.
Venturi has made it possible to accept the casual and the improvised in
the built environment
In his first book, Venturi declared, "Architects can bemoan or try to ignore
them (referring to the honky-tonk elements in buildings) or even try to
abolish them, but they will not go away. Or they will not go away for a
long time, because architects do not have the power to replace them (nor
do they know what to replace them with), and because these commonplace
elements accommodate existing needs for variety and communication. Architecture
is evolutionary as well as revolutionary. As an art it will acknowledge
what is and what ought to be, the immediate and the speculative."
Venturi's early professional work was in the office of Eero Saarinen, where
among other projects, he worked on the design of the Milwaukee County War
Memorial Center. He also worked in the offices of Louis I. Kahn and Oscar
Stonorov in Philadelphia.
One of his first projects to be built that captured the attention of the
architectural community was a house for his mother in the Chestnut Hill
section of Philadelphia, Pennsylvania. In 1989, it received the AIA's Twenty-five
Year Award as a design of "enduring significance that has withstood the
test of time." Scully described it as, "Disarmingly simple after the spatial
antics of late Modernism, its plan...is based on a symbolic conception
rather than upon one that is purely spatially abstract."
Robert Venturi's wife, Denise Scott Brown, is an architect, planner, author,
educator. She has been a partner in the firm since 1969 and his collaborator
in the evolution of architectural theory and design for the past 30 years.
She is noted for bringing particular attention to the relationship of architecture,
planning and social conditions, and is primarily responsible for planning,
urban design and architectural programming.
Robert Venturi, Denise Scott Brown and Steven Izenour collaborated on another
book, published in 1972, "Learning from Las Vegas," a further exploration
of urban sprawl and the suburbs in relation to their architectural theories.
A collection of their writings was also published in 1984, "A View from
the Campidoglio: Selected Essays, 1953-1984."
In one of the essays in the latter collection, Robert Venturi confessed,
"Alvar Aalto's work has meant the most to me of all the work of the Modern
masters. It is for me the most moving, the most relevant, the richest source
to learn from in terms of its art and technique. Like all work that lives
beyond its time, Aalto's can be interpreted in many ways. Each interpretation
is more or less true for its moment because work of such quality has many
dimensions and layers of meaning." With a characteristic Venturi human,
humorous touch, he added, "But Aalto's most endearing characteristic for
me as I struggle to complete this essay, is that he didn't write about
architecture."
In one of his essays in "A View from the Campidoglio," Venturi says, "When
I was young, a sure way to distinguish great architects was through the
consistency and originality of their work...This should no longer be the
case. Where the Modern masters' strength lay in consistency, ours should
lie in diversity."
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