Robert Venturi

There are so many complexities and contradictions in life in general and architecture in particular. I am writing this intro to an interview I held in 2004 with Robert Venturi and his life-and-architecture partner Denise Scott Brown, while visiting Beijing’s Tsinghua University where I was invited to teach this fall. Was it simply a coincidence when, at the last moment before leaving my New York City apartment I would, almost by chance, grab a 2001 issue of Architecture magazine with Venturi on its cover and his contradictory quote, “I am not now and never have been a postmodernist.”

I learned of Venturi's passing last week on my first day of teaching at Tsinghua; the news arrived as I and the students discussed their proposals to improve their campus. In yet another strange coincidence, Venturi and Scott Brown had, just prior to our interview, been working on their own proposal for the very same campus. It was a pleasant and bittersweet surprise then to hear my students speak of freeing up the campus in much the same ways as Venturi's Complexity and Contradiction in Architecture attacked then domineering architecture of minimalism and abstraction over 50 years ago.

His and Scott Brown’s ideas for this campus did not materialize but their analytical and often rebellious thinking greatly influenced how students here and architects all over the world approach architecture. It was Venturi who freed our discipline, it was him who set us all free and encouraged to ask our own questions, to get away from all kinds of dogmas and to provoke ideas of hybridization. What follows is an excerpt from my conversation with the architects at their office in Philadelphia 14 years ago.  

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Robert Venturi - and the postmodernist movement he helped to form - was occasionally a divisive figure. For hardcore modernists, the referencing of prior styles was an affront to the future-facing architecture they had tried to promote. For traditionalists, the ebullient and kitschy take on classicism was an insult to the elegance of the past.

Architecture, while a profession that is very visibly and tangibly realized, has deep wells of research, thought, and theory that are unseen on the surface of a structure. What urges architects to design the way they do? What are their motivations, their affiliations, their interests? For practitioners and students alike, books on architecture offer invaluable context to the profession, be it practical, inspirational, academic, or otherwise. So, for those of you looking to expand your bookshelf (or confirm your own tastes), we have gathered a broad list of 116 architectural books that we consider of interest to those in the field. 

In compiling this list, we sought out titles from different backgrounds with the aim of revealing divergent cultural contexts. From essays to monographs, urban theory to graphic novels, each of the following either engage directly with or flirt on the edges of architecture.

The books on this list were chosen by each of our editors, and are categorized loosely by type. Within their categorization, they are organized alphabetically. Read on to see the books we consider valuable to anyone interested in architecture. 

In this essay by the British architect and academic Dr. Timothy Brittain-Catlin, the very notion of British postmodernism—today often referred to as intimately tied to the work of James Stirling and the the thinking of Charles Jencks—is held to the light. Its true origins, he argues, are more historically rooted.

I grew up in a beautiful late Victorian terrace with ornamental brickwork, shaped ‘Dutch’ gables and pretty arts and crafts stained glass windows – and so I didn’t think then, and I don’t think now, that I had much to learn from Las Vegas. It turns out that I wasn’t the only one. Of British architects who made their names as postmodernists in the 1980s, not a single one would say now that they owed much to Robert Venturi, the American architect widely considered to be a grandfather of movement.

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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.

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.

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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.

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