Q: Drawing references from the main and recommended bibliography, summarize the main points of critique of Scott & Venturi to the modernist movement. Then present one or two architectural precedents of the 20th century and argue for or against their characterization as ‘ducks’ or ‘decorated sheds’, following Venturi’s and Brown’s criteria.
The Complexities and Contradictions in ‘duck’ and ‘decorated shed’ building in modernism architecture.
Before Learning from Las Vegas was first published in 1972, Robert Venturi’s Complexity and Contradiction in Architecture (1966) played a significant role in revising modernist style of architecture and provoke architects not to be constraint with the tenets of orthodox modernism (Venturi 1977, 16). Complexity and Contradiction in Architecture is an intricate reading and the theories does not come to full realisation, until Learning from Las Vegas was published (Ockman and Eigen 1993, 446). These two books by the same author will be used in cross referencing the main criticism towards modern movement in architecture. Complexity and Contradiction in Architecture demonstrate the foundation of his critiques and Learning from Las Vegas is the complementary proof that supports his theories. Complexity and Contradiction vs. Simplification or picturesqueness criticised the treatment of complexity by the ‘traditional modern architects’. Venturi feels that the works of modernist architects lacks in diversity in representing the language of sophistication in architecture (Venturi 1977, 16). In this section he also discussed about Mies Van de Rohe’s prominent phrase, less is more, which he considers it as a rejection of complexity for an expression (Venturi 1977, 16). Some type of simplification does not always work, says Venturi, and it often results in an ‘architectural blandness’ (Venturi 1977, 16-17). Venturi’s counter phrase, less is bore was first seen in this book after he made an analysis about the distinction between simplification and ‘simpleness’ based on Philip Johnson’s Wiley House (Tallack 2014, 132) (figure 1). Venturi’s first 1|
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book portrayed his initial disinclination towards orthodox Modern architecture’s elements which he listed as ‘pure’, ‘clean’, ‘straightforward’ and ‘articulated’ (Venturi 1977, 16). Venturi believed that in the search of pure forms, modern architects overlooked many of the society’s problems. Modern architecture’s pure forms are insufficient to signify the requisites and experience of contemporary society, which is too complex to be represented by pure forms (Pierce 2011, 49-50). Understanding Venturi’s standpoint on modern movement gives us clear grasp about his detailed critiques to modernism architecture which can be reflected to social and cultural order in Learning from Las Vegas. Learning from Las Vegas generally provides critiques of modern urban design via the filter of everyday landscapes. It was written in 2 parts, A significance for A&P Parking Lot, or Learning from Las Vegas and Ugly and Ordinary Architecture, or the Decorated Shed. Part 1 consist of documentation of their studies which are presented with graphical contexts such as sketches, maps and photographs (Wolf 1973, 258) (figure 2). Venturi and Brown present a new landscape which consist of small buildings with big signs as a commercial strip of automobile-driven environment and from this, architecture can be seen as a symbol (Venturi, Brown and Izenour 1972, 13). Architecture is part of the symbolic system in space competing and sometimes contradicting with each other (Bhatt 2003, 250). The function of the buildings is not just a shelter but also as signs that can communicate for multiple meanings. Their graphics representation familiarised us with the idea of new landscape, signage and building symbolism of modern architecture. Considered as a continuity from Complexity and Contradiction vs. Simplification or picturesqueness, Venturi and Brown proposed an Ugly and Ordinary architecture as opposed to pure forms of heroic and modern architecture. (Venturi, Brown and Izenour 1972, 129). By using a fire station’s signs as the example of Ugly and Ordinary (figure
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3), they mentioned that the obvious signage appears both as a symbol of representational architecture (Venturi, Brown and Izenour 1972, 130). Deeper meanings are applied through associations, previous events and other indirect references. Fire station’s truthful character is exemplified by certain aspects of the building for example the false façade, the unoriginal roll-up doors, and the location of the flagpole (Bhatt 2003, 250-51). His study of Las Vegas strip shows 2 ways of communicating and representing architecture either through simplicity or complexity which can be refer back to his stand in Complexity and Contradictions. Based on those 2 ways of perceiving and understanding architecture, Venturi and Brown derived the renowned terms of ‘duck’ and ‘decorated shed’. There is no way to explain the definitions of those terms without quoting from the author itself; 1.
“Where the architectural systems of space, structure, and program are submerged and distorted by an overall symbolic form. This kind of building-becoming-sculpture we call the duck in honour of the duck-shaped drive-in, “The Long Island Duckling,” illustrated in God’s Own Junkyard by Peter Blake.” (figure 4)
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“Where systems of space and structure are directly at the service of program, and ornament is applied independently of them. This we call the decorated shed.” (figure 5) (Venturi, Brown and Izenour 1972, 87)
‘Duck’ and ‘decorated shed’ topic can lead to various discussions such as the its relation with forms follow functions ideas, the relationship between interior and exterior, dematerialisations and many more. However, I chose to study about the architectural expression, symbolism and the reflections towards society during the time.
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‘Ducks’ and ‘ordinary shed’ metaphors were derived to recognise two contradicting ways of expressing architecture from modern architects and more conventional architects respectively. Venturi suggest that the ‘duck’ is categorised as ‘Heroic and Original’ because the building is the symbol itself (Venturi, Brown and Izenour 1972, 129). The exterior of the building conveys the activity and its functions to the extent that they longer require any signs to express the building. Rather than ornamentations or decorations, ‘duck’ utilised its pure articulation and expression to make an architectural statement (Wolf 1973, 258). Venturi’s comment about ‘duck’ can be related to his initial critique of modern architecture in Complexity and Contradiction in Architecture, modernist architects’ approach which is pure, unified and straightforward (Venturi 1977, 16). The building is now reduced to only its importance that it loses its sensitivity towards clients and the context (Pierce 2011, 50). Opposite of ‘duck’ Venturi introduces us a ‘decorated shed’ building. ‘Decorated shed’ is built conventionally from generic structure and with applied decorations and ornamentation to it (Wolf 1973, 258). ‘Decorated shed’ building is ordinary and ugly to Venturi. The structure of the building follows programs in more direct order which according to him makes it more relevant, socially responsible and possess greater meaning. (Venturi, Brown and Izenour 1972, 131). The building’s form under this category is not significant because it can rely on the ornamentations to reveal the functions or meanings of the building (Pierce 2011, 50). However, ornamentations are strongly discouraged in modernist movement of 20th century which influence many modernist architects to reject it and attempt for simplicity in design (Loos 1970, 19). As I stated above, Venturi’s opinion about the importance of building’s complexity motivates him to urge young architects to leave the orthodox modernist views and create a building that provoke architectural exploratory and responded to everyday context of American city and the
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people. Venturi aspire people to keep the building’s ornamentation because the meanings lie within the ornaments even though it was out of norms in modernism architecture in 20th century. Venturi’s beliefs in different attitude in studying architecture was said to be one of the first wave of postmodernism movement in America (Friedman 2006, 189) To rationalise Venturi and Brown’s points about expression and symbolism, I will begin to discuss about an architectural precedent that involved in modernist movement in 20th century which is Vanna Venturi House (1960-1962) by Robert Venturi himself (figure 6). Vanna Venturi House is chosen because it is appealing to demonstrate the trajectory of his theory and how it is applied to his building. The analysis is regarding Vanna Venturi House’s design aspects involving the basic forms of the house, façade treatment and interior layout in respect to his critique in Complexity and Contradiction in Architecture and Learning from Las Vegas’s classification of ‘duck’ and ‘decorated shed’. Vanna Venturi House is in Chesnut Hill Philadelphia and it was built for Venturi’s mother. Even though this house was completed a few years before Complexity and Contradictions in Architecture, it thoroughly supports his arguments about his preferences in architecture, which he stated in his book as hybrid, compromising, distorted and ambiguous (Venturi 1977, 16). Rather than following the pattern of modern architecture, the one that always search for originality and uniformity, Venturi was more committed by his passion for history and a love for multiplicity (Friedman 2006, 190). He creates simplification of the external forms and combined it with the complexity of interior layout, conservative symbolism and elements with conflicting arrangements (Moffett, Fazio and Wodehouse 2003, 525). The forms and building shape was established to mimic a childlike drawing (figure 7) of a house and therefore communicates that the dwelling is in very traditional forms that it is so easy
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to understand and distinguished (Jones and Canniffe 2007, 227). The forms also symbolised the personal relationship between Venturi and the client (his mother). The overall shape of the house is in simplistic forms indicating that it is a symbol for itself and through implicit connotation of the exterior we can tell that this is a ‘duck’ building. But then again, knowing Venturi and his principles, this house is more than just an exterior symbolisation of a personalised architecture. Vanna Venturi house’s design is complex, consist many elements of complexity and convey many layers of meaning and stories. Take the front and rear façade as example (figure 8). In Compexity and Contradictions, Venturi emphasis about how the façade should deliver suggestions about the event that can happen in interior, and the same time need to induce spatial potentials and anticipations that cannot be visualise from outside (Venturi 1977, 116). The simple parapets facades (rear and front) were built not just to enclose the complexities and distortion of the interior but also as a symbol to represent public and residential scale of the house (Venturi 1977, 118). This implicit connotation of the wall’s position also mean that this building is showing a ‘duck’ representation of architecture. Proceed to the other side of the wall, Venturi’s design of the staircase (figure 9) is an important element of the house even though the staircase on its own, taking his own word in this, is in awkward residual space (Venturi 1977, 118). After taking account of the stair’s positions in hierarchical uses and space, the complex residual space is still useful in everyday life (Venturi 1977, 118). This stair seems awkward from certain angle because the upward widening but from other perspectives the shape is welcoming and because of the shape, the bottom of stairs can also be used (Venturi 1977, 118). The stairs also end against the wall which is useless and does not have any purpose, but it is useful because it creates space and function on another level (Venturi 1977, 118). In Vanna Venturi House, staircase is the symbol of the forms that can create spaces
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with functions. This aspect of design can be associated closely with explicit denotative symbolism characteristic of a decorated shed where the architectural elements attempt to construct the building to become something other than what it appears to be. In addition to the façade treatment, the fact that the flat façades are separately built from the main structure makes it become an ornament and this can also be seen as a decoration of a simple shed which refers to the house in this context (Davies 2006, 30). Venturi applied his opinion of contradiction and complexity very clearly throughout the design with distinctive atmosphere from exterior to interior, conventional to unorthodox, simplicity to complexity. Without investigating the building as a whole, one might assume that this house is a literal ‘duck’ interpretation and pure in form. This is not entirely accurate. Every design arrangement is planned carefully to ensure that the comprehensive dialogue between architectural elements can be established. In terms of building expressions and symbolisms, Venturi meticulously fit the imagery of ‘duck’ in the symbolism and ‘decorated shed’ in his design program. Vanna Venturi House is the seamless synchronisation of a ‘duck’ and ‘decorated shed’, therefore I would say that this building is neither pure ‘ducks’ nor pure ‘decorative shed’. Based on Venturi’s view in Learning on Las Vegas, it is evident that Venturi and Brown favours ‘ordinary shed’ over ‘duck’ symbolism buildings and refer to it as bad, modern and irrelevant for its time (Rattenbury 2005, 189). I believe that in our contemporary society the classification of ‘duck’ and ‘decorated shed’ building is not significant anymore. In this era where every aspect of modernity proliferates rapidly, we need to exploit every mode of communication that we can get to cooperate with the society. ‘Duck’ and ‘Ordinary Shed’ both have the possibility to reach high aesthetic values in architecture. Architecture evolves over time and ‘duck’ buildings does become more popular and more relevant in 21st century for example
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we have buildings of ‘pure duck’ by BIG, The Phoenix Observatory Tower (2012) (figure10) and Danish National Maritime Museum (2013) (figure11). It is advantageous to have both personalised (duck) and versatile (ordinary shed) architecture to exist at the same time because these elements are the key of making our urban design more complex, diverse, and amicable. (1982 words) 2097 including in-text citation
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Reference Bhatt, Ritu. 2003. "Aesthetic or Anaesthetic: The Competing Symbols of Las Vegas." Instruction and Provocation or Relearnign from Las Vegas 248-65. Davies, Colin. 2006. Key Houses of the Twentieth Century: Plans, Sections and Elevations. London: Laurence King Publishing. Friedman, Alice T. 2006. Women and the Making of the Modern House: A social and Architectural History. Conneticut: Yale University Press. Ingels, Bjarke. n.d. BIG Architect. Accessed December 17 December, 2017. https://www.big.dk/#projects . Jones, Peter Blundell, and Eamonn Canniffe. 2007. Modern Architecture Through Case Studies 1945 to 1990. Oxford: Elsevier ltd. Loos, Adolf. 1970. "Ornament and Crime." In Programs and Manifestoes on 20th-century architecture, by Ulrich Conrads, 19-24. Massachuchets: MIT Press. Moffett, Marian, Micheal W. Fazio, and Lawrence Wodehouse. 2003. A World History of Architecture. London: Laurence Kind Publishing. Moravánszky, Ákos, and Judith Hopfengärtner. 2017. Re-Humanizing Architecture: New Forms of Community, 1950-1970. Zurich: Birkhäuser. Ockman, Joan, and Edward Eigen. 1993. Architecture Culture 1943-1968: A Documentary Anthology (Columbia Books of Architecture). New York: Rizzoli. Pierce, Ellen. 2011. "The Architecture of Robert Venturi and Denise Scott Brown: Democratic and Dangerous." Lehigh University Lehigh Preserve 49-50. Rattenbury, Kester. 2005. This is Not Architecture: Media Constructions. New York: Routledge. Tallack, Douglas. 2014. Twentieth-Century America: The Intellectual and Cultural Context. Leicester: Routledge. Venturi, Robert. 1977. Complexity and Contradiction in Architecture. New York: The Museum of Modern Art. Venturi, Robert, Denise Scott Brown, and Steven Izenour. 1972. Learning from Las Vegas: The Forgotten Symbolism of Architectural Form. Massachusetts: The MIT Press. Vinegar, Aron. 2008. I am a Monument on Learning From Las Vegas. Massachusetts: Massachusetts Institute of Technology.
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Picture References
Figure 1: Wiley House by Philip Johnson Extracted from http://gtspirit.com/2015/07/06/philip-johnsons-wiley-house-listed-for-14-million/ on 18 Dec 2017
Figure 2: Las Vegas Strip Extracted from http://ds1416.risd.gd/?cat=17 on 18 Dec 2017
Figure 3: Fire Station No. 4 from Learning from Las Vegas Extracted from http://esotericsurvey.blogspot.co.uk/2015/08/architecture-columbus.html on 18 Dec 2017
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Figure 4: Original Long Island Duck Extracted from http://www.3nta.com/duck-rules-venturi-big/ on 18 Dec 2017
Figure 5: Example of a ‘decorated shed’s’ gas station Extracted from: https://www.pinterest.co.uk/pin/275352964691524712/ on 18 Dec 2017
Figure 6: Vanna Venturi House Extracted from https://www.dezeen.com/2015/08/12/postmodernism-architecture-vanna-venturi-house-philadelphiarobert-venturi-denise-scott-brown/ 18 Dec 2017
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Figure 7: Simple Exterior Extracted from https://www.dezeen.com/2015/08/12/postmodernism-architecture-vanna-venturi-house-philadelphiarobert-venturi-denise-scott-brown/ on 18 Dec 2017
Figure 8: Faรงade Extracted from https://www.pinterest.co.uk/pin/512917845034546938/?lp=true on 18 Dec 2017
Figure 9: Stairs to nowhere Extracted from http://www.uncubemagazine.com/blog/15926627 on 18 Dec 2017
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Figure 10: Phoenix Observatory Tower. Status: Idea Extracted from https://www.big.dk/#projects-pho on 18 Dec 2017
Figure 11: National Maritime Museum. Status: Completed Extracted from https://www.big.dk/#projects-sof on 18 Dec 2017
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