The Architectural Review has recently published an article celebrating the 50th anniversary of Robert Venturi’s book, Complexity and Contradiction in Architecture, which is regarded as one of the most important writings about architecture since Le Corbusier’s Vers une Architecture. In the article, Martino Stierli—Chief Curator of Architecture and Design at the Museum of Modern Art—delves into the significance of Venturi’s work, the motivation behind it, its continuing impact, and more. Read the full article at the Architectural Review, here.
Though the Las Vegas Strip may be garish to some, with its borderline intrusive décor and “pseudo-historical” architecture, some professional architects, most notably Robert Venturi and Denise Scott-Brown, have become captivated by the “ornamental-symbolic elements” the buildings present. The two architects developed the curious design distinction between a “duck” and a “decorated shed”, depending on the building’s decorative form. In his essay for 99% Invisible, Lessons from Sin City: The Architecture of “Ducks” versus “Decorated Sheds”, Kurt Kohlstedt explores how the architects implemented their knowledge of ornamentation in their own works and began an architectural debate still ongoing today.
The relevant revolution today is the current electronic one. Architecturally, the symbol systems that electronics purveys so well are more important than its engineering content. The most urgent technological problem facing us is the humane meshing of advanced scientific and technical systems with our imperfect and exploited human systems, a problem worthy of the best attention of architecture's scientific ideologues and visionaries.
—Robert Venturi, Denise Scott Brown, Steven Izenour, Learning from Las Vegas
Through their books, theories and design projects, there's no doubt that Denise Scott Brown and Robert Venturi dramatically altered the course of architecture at the end of the Modernist period. In this interview conducted at the Harvard Graduate School of Design in 2013, Shalmali Wagle and Alen Žunić talk with Scott Brown about the origins of the groundbreaking theories that underpinned the work of Venturi Scott Brown and Associates, what she is working on now, and her hopes for the future of the profession.
When you decided to practice architecture, was there a second option? What could have been your alternate career?
Because my mother had studied architecture, I wanted as a child, to be an architect, and as she drew a great deal for us, I spent much of my preschool life drawing and painting. In grade school I loved my teachers and wanted to do what they did. And in middle school I wanted to write, study languages, travel, and perhaps be a librarian—a career I saw as appropriate to my interests and open to women. But on entering architecture school, I saw only men there (5:60 was the ratio everywhere, until almost 1980). But the architects I knew were women, so I had thought it was a female's profession. "What are all these men doing in the studio?" I asked myself. When I was 40 I looked back and realized I had had all the roles I hoped to have but within the framework of architecture.
Through their pioneering theory and provocative built work, husband and wife duo Robert Venturi (born June 25, 1925) and Denise Scott Brown (born October 3, 1931) were at the forefront of the postmodern movement, leading the charge in one of the most significant shifts in architecture of the 20th century by publishing seminal books such as Complexity and Contradiction in Architecture (authored by Robert Venturi alone) and Learning from Las Vegas (co-authored by Venturi, Scott Brown and Steven Izenour).
Venturi Scott-Brown’s National Gallery Sainsbury Wing extension (1991) was born into a precarious no-man’s land between the warring camps of neo-Modernists and traditionalists who had been tussling over the direction of Britain’s cities for much of the prior decade. The site of the extension had come to be one of the most symbolic battlefields in British architecture since a campaign to halt its redevelopment with a Hi-Tech scheme by Ahrends Burton Koralek had led to that project’s refusal at planning in 1984.
The American Institute of Architects (AIA) has announced Denise Scott Brown, hon. FAIA and Robert Venturi, FAIA, as joint winners of the 2016 AIA Gold Medal. The AIA cited the duo for their "built projects as well as literature that set the stage for Postmodernism and nearly every other formal evolution in architecture." Scott Brown and Venturi are the first ever pair to receive the Gold Medal, after the AIA approved a change to its bylaws in 2013 that allowed the award to be presented to up to two individuals working together.
Robert Venturi's Vanna Venturi House is now for sale. According to reports on Curbed, the postmodern home could be yours for just $1.75 million! Said to be one of the top 10 buildings that "changed America," the house was originally designed and built by the Pritzker Prize laureate for his mother in 1964. The home's most recent owner, University of Pennsylvania professor Dr. Thomas P. Hughes passed away February, leaving the historic residence to his daughter who is now selling the home.
Thanks to the increasing availability of giant LED screens, the Golden Age of Neon has quietly faded in Las Vegas. For decades casinos defined their visual identity with colorful neon signs and competed for the most innovative signage. But with casinos closing, being refurbished and the arrival of new lighting technology a lot of neon signs were replaced, and for many years the Young Electric Sign Company kept the old neon signs in their "boneyard" for storage and recycling. Fortunately historic preservation groups rescued these signs. With support of the arts council The Neon Museum was born to save neon treasures and to educate the public.
Read on to explore Las Vegas' luminous landmarks and The Neon Museum.
The napkin sketch has always had its place in architecture. Now, some of the world's more respected architects have donated their very own conceptual doodles to the NewSchool and San Diego American Institute of Architecture Students (AIAS) in an effort that helped raise thousands to fund scholarships and programs for architecture students.
"The event was a big success,” said David Garcia, a NewSchool architecture undergraduate and fundraising chair for the AIAS event. “Personally, this project means a lot to me, and not just because of the time and involvement, but because this is a nice way to bring students and their favorite architects together, even if it's just through a sketch. Plus, since it's a fundraiser, the proceeds have been a great help to the success of the chapter.”
Robert Venturi, the architect famous for "less is a bore," turns 89 today. Venturi started his firm in 1964 and ran it with his wife and partner Denise Scott Brown from 1967 until 2012. Today the Pritzker Prize winner's legacy lives on as the firm continues under the name VSBA (Venturi Scott Brown Associates).
Robert Venturi, the architectural figurehead who fought the cause for postmodernism, turns 88 today. Venturi, whose 1966 book 'Complexity and Contradiction in Architecture' coined the term "less is a bore" - to contradict Mies van der Rohe's famous "less is more" - is possibly the most influential of the theorists who worked to steer architecture away from the modernist ethos in which it had become so entrenched.
The petition demanding that architect Denise Scott Brown be retroactively acknowledged as a joint recipient of the 1991 Pritzker Prize has surpassed 12,000 signatures. Notable supporters include past Pritzker Prize recipients Zaha Hadid, Rem Koolhaas and Scott Brown's own husband and partner of 40 years, Robert Venturi. The success of this Change.org campaign, fueled by two young women of the Harvard GSD's Women In Design club, is larger than the one female architect it aims to honor - it is a campaign to rethink the difficult and often unjust position of the woman in architecture.
Read more after the break.
After years of disconcerting reports that the historic David and Gladys Wright House by Frank Lloyd Wright was under threat of demolition by developers, we announced that a generous benefactor saved it from its fate by providing funds to buy back the property. It seems that this particular story is not unique. An article on ArchRecord by Frank A. Bernstein lists several other modern architecture treasures that may soon fall under the same threat as they hit the real estate market.
Find out more after the break.
There’s been a lot of buzz going around about the Pritzker jury dissing Denise Scott Brown, wife and co-partner to Robert Venturi. Back in 1991 they awarded the prize to Mr. Venturi, singular…not plural to include his better half. Seems they, a different jury, also dissed Wang Shu’s wife and co-partner, Lu Wenyu way back in 2012 by granting the prestigious prize to Mr. Wang without acknowledging who holds up “the other half of the sky”, as they say in Mandarin.
Robert Venturi has joined nearly 4,000 advocates in the call to retrospectively acknowledge Denise Scott Brown as a joint Pritzker Prize laureate, stating: “Denise Scott Brown is my inspiring and equal partner.”
His support was then quickly followed by Rem Koolhaas, who stated: “I totally support this action. The fact that one of the most creative and productive partnerships we have ever seen in architecture was separated rather than celebrated by a prize has been an embarrassing injustice which it would be great to undo.”
More updates after the break...
An intense gender debate has been making headlines after Denise Scott Brown called for Pritzker to “salute the notion of joint creativity” and retrospectively acknowledge her role in Robert Venturi’s 1991 Pritzker Prize during an AJ Women in Architecture luncheon in late March. Since, nearly 2,000 advocates have passionately rallied in Brown’s support by signing an online petition created by Harvard’s GSD Woman in Design Group. Among the signatures include architects Zaha Hadid, Farshid Moussavi and Hani Rashid, along with MoMA senior curator of architecture and design Paola Antonelli, architecture photographer Iwan Baan, Rice School of Architecture dean Sarah Whiting, and Berkeley College of Environmental Design dean Jennifer Wolch.
Responding to the outrage, Martha Thorne, executive director of Pritzker Prize, promised to “refer this important matter to the current jury at their next meeting”, respectfully pointing out that this presents an “unusual situation” considering each Laureate is chosen annually by a panel of independent jurors who change over the years.