ROBERT

VENTURI
J 1925-2018

ADDIS ABABA
UNIVERISTY
EIABC

NAME – BEZAWIT
MEKURIA
ID - UGR/5736/14
N
 BIOGRAPHY

Robert Venturi(1925-2018) 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 appearance 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.

Robert Venturi was born on June 25, 1925, in Philadelphia, in the house of a fruit grocer. He attended
the Episcopal Academy in Philadelphia, and graduated in 1943. He then entered the Princeton
University, where he received his bachelors of arts summa cum laude, in 1947, and later his master’s in
fine arts in 1950. During his time at Princeton, Venturi studied under the guidance of Jean Labatut, a
leading French architect, who taught Venturi not only how to create buildings in the minds of the
architect, but also how their perceptions are shaped in the minds of the people on the street. Venturi
also studied architectural history under notable scholar, Donald Drew Egbert, which provided a vital
source of inspiration in his later designs.

In 1950, he secured employment first at the architectural office of Oscar Stonorov, and later with Eero
Saarinen. In 1954, he received a Rome Prize Fellowship, and he continued his studies at the American
Academy in Rome. Along with Louis Kahn, for the next two years as he ventured in and out of the
streets of Rome, he developed a particular admiration for the city’s Baroque and Mannerist monuments,
and particularly, he drew his inspiration for traditional architectural vocabulary of columns, arches and
pediments from the great works of Michelangelo and Borromini. In 1956, he returned to the US, and
began teaching a course in architectural theory at the University of Pennsylvania, School of
Architecture. Meanwhile, he also collaborated with Louis Kahn on several ventures. In the following
three decades, he has lectured at numerous institutions including Yale, Princeton, Harvard, University
of California at Los Angeles, Rice University and the American Academy in Rome.

In 1958, he decided to establish his own architectural practice, and he

formed Venturi, Cope, and Lippincott. In 1964, he partnered with architect
John Rauch to establish a firm, and in 1977, Venturi’s wife, Denise Scott
Brown was made a third partner in their firm, Venturi, Rauch & Scott
Brown. In 1966, Venturi published his first book, “Complexity and
Contradiction in Architecture”, where he talks about the “messy vitality” of
the built environment, and poses the question, “Is not Main Street almost all
right?” He says, “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."

Venturi is an architect whose work cannot be categorized; to him, there is never a single solution. Let
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.

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 American
Institute of Architecture’s Twenty-five Year Award as a design of
"enduring significance that has withstood the test of time." Other well-
known works include: Guild House (1964) in Philadelphia, comprised of
91 apartment units for the elderly, the Allen Memorial Art Museum (1976)
in Oberlin, Ohio, the extension to Britain’s National Gallery of Art, begun
in 1986 in London, and the recent Seattle Art Museum (1991).

Between 1966 and 1970, Venturi served as the Charlotte Davenport Professor of
Architecture at the Yale University. Through the teachings of his lectures, he published a
book in 1972, titled “Learning from Las Vegas”, co-authored by Steven Izenour and
Denise Scott Brown. The book dealt with the artistic and inspirational aspects of the trendy
and bright architecture of Las Vegas, and how it serves to offer insight into the lives of the
inhabitants of the gaudy and sign-filled Vegas strip. A collection of their writings was also
published in 1984, A View from the Campidoglio: Selected Essays, 1953-1984. In 1978,
Venturi was made a Fellow at the American Institute of Architecture, and later, in 1990, he
was elected to the American Academy of Arts and Letters.

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.

Robert Venturi has been the recipient of numerous awards and accolades, including the AIA Medal for
Complexity and Contradiction in Architecture in 1978, AIA Architecture Firm Award, to Venturi, Rauch
and Scott Brown in 1985, Commendatore of the Order of Merit by the Republic of Italy in 1986, AIA
Twenty-five Year Award to the Vanna Venturi House in 1989, The Pritzker Architecture Prize in 1991
and the United States Presidential Award, the National Medal of Arts in 1992 among many others.
 BACKGROUND
 Postmodern architecture initiated in the 1960’s
 It became more popular in the late 1970’s and 1980’s and remained influential in the 1990’s as well
 Postmodern architecture illustrates ornaments on the façade in exchange to unornamented-modern
styles
 Postmodern architecture is distinguished for incorporating historical detail elements in a mixture
rather than just pure style, by using more decorative elements in reference to the historical buildings
 Robert Charles Venturi is described as postmodern architect. Although, he rejected the postmodernist
label, he is known for considering modern space as boring and utilitarian.

VENTURI ARCHITECTURAL PHILOSOPHY AND STYLE

 Famous for his response “less is a bore,” to modernist Mies van Der Rohe’s dictum, “less is
more.”
“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.”

He strongly believed that architects can try to ignore the honky- tonk elements in a building or even
try to abolish them, but they will not go away. Architects do not have the power to
replace them

 He believes that architectural decoration should reflect the culture in which

it exists; therefore he separates structural elements from decoration.
 He has even said “I like elements which are hybrid rather than “pure”,
compromising rather than “clean,” distorted rather than “straightforward,”
ambiguous rather than “articulated,”…”
 Venturi Scott Brown and Associates (VSBA) are known for combining
different elements in unusual
ways
 It is an approach that has been influenced and encouraged by Robert Venturi
and Denise Scott
Brown.
 Moreover, VSBA are known for eclecticism from historical design styles to
contemporary architecture and advertising. The firm decorative art projects are lively and bold
eclecticism.
Characteristics of Robert Venturi

1. Embracing Complexity:
- Venturi emphasized the beauty found in complexity, in contrast to the minimalist and streamlined
approach of modernism. He believed that architecture should reflect the multi-layered and diverse
nature of the human experience and urban environments.

2. Celebrating Contradictions:
- Venturi's philosophy celebrated the inherent contradictions present in architecture and urban
landscapes. He advocated for the inclusion of contradictory elements and juxtapositions, challenging
the homogeneity of modernist design.

3. Historical References:
- Venturi drew inspiration from historical architectural styles and elements, incorporating a diverse
range of references into his designs. He believed that architecture should engage with its cultural and
historical context, leading to a rich and diverse architectural language.

4. Inclusive Aesthetic:
- His approach embraced an inclusive aesthetic, welcoming diversity in architectural form, style, and
ornamentation. Venturi challenged the notion of a singular, universal architectural style, advocating for
inclusivity and relevance to the local context.

Expression of Philosophy in His Buildings:

1. Complex Facades and Forms:

- Venturi's buildings often featured complex and richly layered facades, deviating from the minimalist
approach prevalent in modernist architecture. One of his seminal works, the Vanna Venturi House,
showcased intricately detailed facades that celebrated diversity and historical allusions.

2. Juxtaposition of Elements:
- In his designs, Venturi intentionally juxtaposed architectural elements, such as combining classical
motifs with modern structures, to create visually dynamic and thought-provoking compositions. This
intentional contrast reflected his philosophy of celebrating contradictions.

3. Playful Ornamentation:
- Venturi integrated playful and diverse ornamentation into his buildings, challenging the austerity of
modernist design. His use of ornamentation was a deliberate departure from the strict functionalism of
modern architecture, introducing historical and decorative elements.

4. Contextual Sensitivity:
- Venturi's buildings were designed with a sensitive approach to their surroundings, incorporating
historical references and responding to the cultural and urban context. He used familiar architectural
elements to establish a dialogue with the local environment, advocating for relevance and inclusion.

5. Symbolic and Expressive Details:

- The inclusion of symbolic and expressive details in Venturi's buildings conveyed layered meanings
and historical references. These details engaged with the history and identity of the built environment,
offering a multidimensional experience for occupants and observers.
6. Critique of Modernist Dogma:
- Through his designs and writings, Venturi critiqued the hegemony of modernist architectural
dogma, advocating for a more inclusive, diverse, and culturally resonant approach to design. His
buildings were a manifestation of this critique, embodying an alternative paradigm rooted in contextual
sensitivity and historical awareness.

VENTURI’S ARCHITECTURAL WORKS.

 Venturi’s important commissions includes

 Vanna Venturi House, Philadelphia (1962)
 The Guild House, Philadelphia (1960–1963)
 Princeton and the University of Pennsylvania
 The Seattle Art Museum (1985-1991)
 The Sainsbury Wing of London’s National Gallery (1986-1991)
 Pearson House, Chestnut Hill (1957)
 The expanded Museum of Contemporary Art, San Diego (1996) and many more.

VANNA VENTURI HOUSE

 The Vanna Venturi House is designed for Venturi’s mother in 1962

 It was his second completed building
 The postmodern in style Vanna Venturi House is located in suburban Chestnut Hill, Philadelphia on
1,800 square feet.
 The building is recognized as a “Masterwork of Modern American Architecture” by the United
States Postal Service in May 2005
 Venturi describe that “The house is big as well as little, by which I mean that it is a little house with
big scale…”
 The plan is symmetrical
 The inside spaces are complex both in shapes and inter-relationships.
 In contrast, the outside image is simple and consistent. The front creates an almost symbolic image of
a house.
 The front and back elevation are classically symmetrical with strong centralities.

 However, the symmetry is distorted, because of the intention to accommodate necessary space for the
house
 Near the front it has a diagonal wall suggest direction to the entrance transitional space

 The chimney rises up and split the house in to two

 However the living room is half vaulted
 The staircase and chimney compete for the main center space inside the house
 The living room has a rectangular shape.
 The stair is distorted once it reached the chimney

Interior of the house

 THE GUILD HOUSE

 The Guild House was its starting point for a counter-revolutionary

movement against modernism, the Postmodern movement

 The Guild House is a housing apartment for seniors with low

incomes.

 It located in an ordinary urban environment, and a passer-by would

admit that it has nothing grand or extraordinary.

 A massive column of polished black granite rests at the entrance of

the otherwise flat façade. Adorned with a huge sign on the front
announcing GUILD HOUSE in bold red letters, and a representational
TV antenna sculpture on the roof, the structure could be rightly
classified (even by Robert Venturi) as ugly and ordinary.

 The design of the 6-story structure.

 It is characterized by well-proportioned symmetry.
 The stepped facade respects the line of the street, although the
building is retracted on the sides.

 Dark red bricks are applied to match the smog-smudged ones of the
neighborhood. A column of black granite greets the visitor in the
middle of the entrance portal, contrasting with the stripe of the white
glaze coating.
 The stripe divides the building into three uneven stories – the
basement, the principal story, and the attic, contradicting the scale of
the six equal floors on which it is imposed. Thus, it contradicts the
machine-like divisions of modernism, and instead, suggests the
proportions of a Renaissance palace.
Fire station #4, Columbus, Indiana,
USA, 1968.
In the late 1960s, Venturi was enlisted to
design a fire station for the city of Columbus
that was an "ordinary building" and "easy to
maintain". His design comprises a simple
floor plan, with the apparatus room placed on
one side and living quarters on the other. A
huge hose-drying tower rising in between is
adorned with a golden "4" at the top.
White-glazed brick covers most of the front of
the building, but stops just short at the edges,
where it is replaced with red brickwork. "This
crisp, functional building creates an
appropriately ordinary, yet distinctive, image
for the rescue and social activities associated
with a community fire station," said Venturi Scott Brown Architects (VSBA) in a project statement.

Children's Museum of Houston, Texas, USA, 1992

Chunky columns supporting a pediment
are patterned and coloured bold yellow
at the entrance for the Children's
Museum of Houston, designed by VSBA
and Jackson & Ryan Architects.
Venturi likely drew on his experience
studying child psychology for the 4,100-
square-metre building, which is intended
to foster early development. The front
colonnade exposes a large window
behind, while flattened versions run
along the side walls and appear to hold
up letters spelling out the museum's
name.
Unbuilt College Football Hall of Fame: New
Brunswick, New Jersey (1967)
While this speculative design was never completed, its influence
looms large over the museum and art worlds. Venturi and Brown
devised a museum that honored football in its most natural
environment, that is to say, on the screen. The unbuilt paean to the
college game featured a towering, flat facade, upon which video
would be broadcast at a scale big enough to turn the parking lot
into drive-in, according to critic Witold Rybczynski. A long with
the grandstand at the rear of the building, the museum concept and
its ahead-of-its time use of video and multimedia shows the duo
thinking about architecture as a platform for emerging digital
technologies.

Franklin Court: Philadelphia, Pennsylvania

(1978)
Another subtle but significant design by a master of
symbolism, this addition to Independence National
Historic Park has become a Philadelphia favorite.
Atop the site where Benjamin Franklin once ran his
printing shop, Venturi, Brown, and then collaborator
and colleague John Rauch set two “ghost houses,”
representing the Franklin residence and office. The
white tubular steel outlines, award-winning examples
of playful placemaking that allow visitors to
reconstruct the buildings in their imaginations, have
become icons and object lessons for architecture
students

Sainsbury Wing: London, United

Kingdom (1991)
Venturi and Brown achieved both a postmodern,
and political, masterstroke with this design,
delivering an eclectic yet unified blueprint to patch
up a massive row in British architecture. Before the
Venturi and Brown design was selected, this site
had become the site of a battle between different
stylistic camps; a previous design was described by
Prince Charles as looking “like a mostrous
carbuncle on the face of a much lived and elegant
friends.” The Venturi and Brown design managed to
make everyone happy without selling out, laying
out a series of galleries and exteriors, including an
“echo facade” facing Trafalgar Square, that blends
new and old ideas without being watered down.
Gordon Wu Hall: Princeton, New Jersey (1982)
Described as “witty, relaxed
and comfortable’’ by
architecture critic Paul
Goldberger, this small
residence hall on the
Princeton campus reflects
the architects’s respect for
history and the Gothic style
predominant on campus.
The playful heraldic
symbols above the doorway,
and the mixtures of styles
and elements found in the
orange brick building, what Goldberger calls “compositionalism,” shows Venturi
finding a perfect, if eccentric, solution to the confines of a small site.

REFERENCE

Robert Venturi: Masterpieces of a postmodern architecture icon - Curbed

Biography: Robert Venturi | The Pritzker Architecture Prize (pritzkerprize.com)
Robert Venturi Architect | Biography, Buildings, Projects and Facts (famous-architects.org)
Architectural theoretician: Robert Venturi - RTF (re-thinkingthefuture.com)
hiddencityphila.org/2013/07/venturis-guild-house-50-years-of-everyday-extraordinary-design/