FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W2022861029> ?p ?o ?g. }

• W2022861029 endingPage "282" @default.
• W2022861029 startingPage "267" @default.
• W2022861029 abstract "Click to increase image sizeClick to decrease image size Notes R. Venturi, Complexity and Contradiction in Architecture, The Museum of Modern Art Papers on Architecture, 1 (New York, Museum of Modern Art and the Graham Foundation and Doubleday, 1966), p. 11. Ibid., p. 23. Ibid., p. 11. In other words, this essay attempts to locate Venturi's notions of mannerism and baroque in the texts of Complexity and Contradiction and Learning from Las Vegas. As a consequence, it will affirm many views that Venturi, himself, has expressed about both books since their publication. Still, as I hope to show, the canonical view of the two books, and their almost teleological relationship—with Complexity pertaining to ‘form’ and Learning to ‘symbolism’—is somewhat reductive. For instance, N. Miller, review of Complexity and Contradiction in Architecture, Journal of the Society of Architectural Historians [JSAH], 26, 4 (1967), pp. 318–19, detects an echo of Wölfflin's baroque in Venturi's notion of ‘the difficult whole’. On Venturi and mannerism, see, for instance, Irina Davidovici, ‘Abstraction and Artifice’, Oase, 65 (2004), pp. 100–41; R. Venturi and D. Scott Brown, Architecture as Signs and Systems: For a Mannerist Time (Cambridge, Mass., Belknap Press of Harvard University Press, 2004), esp. pp. 12–40. In this, my reading of Complexity and Contradiction differs from M. Stierli, ‘In the Academy's Garden: Robert Venturi, the Grand Tour and the Revision of Modernism’, AA Files, 56 (2007), pp. 42–55, esp. p. 54f, who writes that ‘mannerism was, at least explicitly, only marginally present in Complexity and Contradiction.’ I do believe, however, that the concept of mannerism arrived quite late in the writing process of the book (see below). P. Barriere and S. Lavin, ‘Interview with Denise Scott Brown and Robert Venturi’, Perspecta, 28 (1997), pp. 126–145, esp. p. 127. R. Venturi, Complexity and Contradiction in Architecture, 2nd ed., The Museum of Modern Art Papers on Architecture, 1 (New York, Museum of Modern Art and the Graham Foundation, Doubleday, 1977), p. 19. This is an explicit preoccupation of an exhibition and catalogue as recent as the year 2000; see: E. Peters Bowron and J. J. Rishel, eds, Art in Rome in the Eighteenth Century, exh. cat. (London, Merrell, 2000) [Philadelphia Museum of Art, March 16th - May 28th, 2000]. Robert Venturi would readdress this work in ‘Armando Brasini revisited’: R. Venturi, Iconography and Electronics upon a Generic Architecture (Cambridge, Mass., The MIT Press, 1996), pp. 59–61. Venturi, Complexity and Contradiction, 1966, op. cit., pp. 19–20. Ibid., p. 18. My thanks to Robert Venturi for his kind elucidations on this point. On Venturi's stay in Rome, see also Robert Venturi, ‘Notes for a Lecture Celebrating the Centennial of the American Academy in Rome Delivered in Chicago’ and ‘Adorable Discoveries When I was a Semi-Naive Fellow at the American Academy in Rome That I Never Forget’: Venturi, Iconography and Electronics, op. cit., pp. 47–58; Stierli, ‘In the Academy's Garden’, op. cit., demonstrates the impact of Venturi's European travels on Complexity and Contradiction. Venturi, Complexity and Contradiction, 1977, op. cit., p. 14. Venturi, Complexity and Contradiction, 1966, op. cit.: photograph credits nos 14, 24, 165, 190. Most credited publications date from after 1955. For a comparison of the imagery of both works, see D. Fausch, ‘Robert Venturi's and Paolo Portoghesi's photographs of Rome’, Daidalos, 66 (1997), pp. 76–83. The Getty Archives contain: Richard Krautheimer, Lectures on Baroque architecture, ca. 1950. Description: 94 pp. Biographical or Historical Notes: Architectural historian. Summary: Notes by a professional note-taker on Krautheimer's course at the Institute of Fine Arts, N.Y.U., containing detailed architectural analyses, bibliographies, etc. Provenance: Given by Howard Saalman to Patricia Waddy. (My thanks to Evonne Levy for this reference.) See J. Ackerman, ‘In Memoriam Richard Krautheimer’, Journal of the Society of Architectural Historians [JSAH], 54, 1 (1995), p. 6. Venturi, Complexity and Contradiction, 1966, op. cit., p. 14. G. C. Argan, ‘La ‘Retorica’ e l'Arte Barocco'; and G. Morpurgo, ‘Aristotelismo e Barocco’, in: Atti del III Congresso internazionale di Studi Umanistici: Retorica e barocco (Rome, Fratelli Bocca, 1955), pp. 9–14, pp. 33–46. G. C. Argan, ‘La ‘Retorica’ e l'Arte Barocco', op. cit., p. 13. See E. Levy, Propaganda and the Jesuit Baroque (Berkeley, University of California Press, 2004), pp. 50–52. One illustration in Complexity and Contradiction, 1966, op. cit., no. 33, is credited to Argan's book on Borromini of 1952. Venturi, Complexity and Contradiction, 1966, op. cit., pp. 44–45. See, for instance, ibid., 1966, pp. 30, 37, 41, 44, 46–49, 51, 59, 64, 91. See Venturi, ‘Notes for a Lecture’, op. cit., p. 50. See also Stierli, ‘In the Academy's Garden,’ op. cit., p. 46, who shows that Venturi was especially interested in baroque architecture during his first trip to Rome in 1948. P. Barriere and S. Lavin, ‘Interview with Denise Scott Brown and Robert Venturi,’ op. cit., p. 136: ‘Well, speaking of influence and Palladio, one of the most thrilling and relevant experiences I ever had was reading Rudolph Wittkower's book on Palladio. There are two parts to that work. One is focused on the issue of proportion, which does not interest me at all—it never has, not the golden mean nor Corb's modular. But Wittkower's interpretation of Palladio as a Mannerist, and not the orthodox Classicist that Lord Burlington and his followers made him out to be, that was a great revelation.’ A. A. Payne, ‘Rudolf Wittkower and Architectural Principles in the Age of Modernism’, Journal of the Society of Architectural Historians [JSAH], 53, 3 (1994), pp. 322–342. R. Wittkower, Architectural Principles in the Age of Humanism, with a new introduction by the author, 3rd ed. (New York and London, Norton, 1971), p. 76. Ibid., p. 76. Here my reading of Wittkower's Architectural Principles diverges from Payne, ‘Rudolf Wittkower and Architectural Principles’, op. cit., p. 327. Wittkower, Architectural Principles, op. cit., p. 82. (My emphasis.) Ibid., pp. 83–84. R. Wittkower, ‘Michelangelo's Biblioteca Laurenziana’, Art Bulletin, 16, 2 (1934), pp. 123–218, esp. 207–16. Wittkower, Architectural Principles, p. 85f refers to this passage when he addresses ‘inversion as a Mannerist principle’. Venturi, Complexity and Contradiction, 1966, op. cit., p. 22. Ibid., pp. 24, 30, 75. Ibid., pp. 47–48 and 54. Ibid., pp. 49 and 50. Ibid., p. 51. Ibid., p. 34 note. W. Sypher, Four Stages in Renaissance Style. Transformations in Art and Literature 1400-1700 (Garden City, NY, Doubleday, 1955), pp. 124–125. Venturi, Complexity and Contradiction, 1966, op. cit., p. 38. Sypher, Four Stages, op. cit., pp. 124–5. An earlier, unrelated transposition of Wölfflin's methodology onto literature is proposed by Fritz Strich. See, for instance, his ‘Die Übertragung des Barockbegriffs von der bildenden Kunst auf die Dichtung’, in, R. Stamm, ed., Die Kunstformen des Barockzeitalters (Munich, Lehnen Verlag, 1956), pp. 243–65. The close interaction between literary history and art history in baroque studies is also apparent in R. Wellek, ‘The concept of Baroque in Literary Scholarship’, in, S. G. Nichols, Jr, ed., Concepts of Criticism (New Haven and London, Yale University Press, 1963). This essay was written in 1945 and expanded in 1962 (p. 115), and Wellek signals ‘the attempt to replace the term [baroque] or to break it up into several components’, and, most notably, the introduction of mannerism, as ‘the most widespread feature of baroque discussions of recent years’ (pp. 124–25). Sypher's work serves as an example. Sypher, Four Stages, op. cit., p. 5. Ibid., p. 6. Ibid., p. 4. R. Alexander, review of Four Stages of Renaissance Style: Transformations in Art and Literature 1400–1700, by Wylie Sypher, College Art Journal, 15, 3 (1956), pp. 279–281. Sypher, Four Stages, op. cit., p. 9. Venturi, Complexity and Contradiction, 1966, op. cit., p. 26. Sypher, Four Stages, op. cit., pp. 5, 17–18. Ibid., pp. 18–30. Ibid., pp. 184–85. R. Venturi, ‘From Invention to Convention in Architecture’, in, Venturi, Iconography and Electronics, op. cit., p. 238. Venturi, Complexity and Contradiction, 1966, op. cit., pp. 32, 34. See also the remark that the ‘Mannerist elliptical plan of the sixteenth century is both central and directional. Its culmination is Bernini's Sant'Andrea al Quirinale’ (p. 32). Wittkower, ‘Michelangelo's Biblioteca Laurenziana,’ op. cit., p. 210; Sypher, Four Stages, op. cit., p. 225. My implicit contention here is that the Santa Susanna, like, for instance, Giacomo della Porta's façade for the Ges[ugrave] (another conspicuous absentee) could have fitted Venturi's argument. Venturi, Complexity and Contradiction, 1966, op. cit.: ‘Acknowledgments’ states that ‘[most] of this book was written in 1962’. In P. Barriere and S. Lavin, ‘Interview with Denise Scott Brown and Robert Venturi’, op. cit., p. 128, Venturi and Denise Scott Brown recall how Complexity and Contradiction grew out of the notes for the course in the theory of architecture that they taught at the Architecture School of the University of Pennsylvania between 1962 and 1964. See also H. F. Mallgrave, Modern Architectural Theory: A Historical Survey, 1673–1968 (Cambridge, Cambridge University Press, 2005), p. 400; Stierli, ‘In the Academy's Garden,’ op. cit., p. 54 note. Venturi, Complexity and Contradiction, 1966, op. cit., p. 18. Ibid., p. 28. Ibid., pp. 28–30. P. J. Finkelpearl in Journal of the Society of Architectural Historians [JSAH], 38, 2 (1979), pp. 203–205, esp. 203; a review related to the following publications: R. Venturi, Complexity and Contradiction in Architecture, 2nd ed., 1977, op. cit.; R. Venturi, D. Scott Brown and S. Izenour, Learning from Las Vegas, 2nd ed. (Cambridge, Mass., The MIT Press, 1977); C. W. Moore and N. Pyle, eds, The Yale Mathematics Building Competition (New Haven and London, Yale University Press, 1974); ‘Venturi and Rauch, 1970–77’, Architecture and Urbanism, 57 (November, 1974); ‘Venturi and Rauch. 25 Offentliche Bauten’, Werk-Archithese, 7–8 (July/August, 1977); Progressive Architecture, 58 (October, 1977); ‘Venturi and Rauch’, L'Architecture D'Aujourd'hui, 147 (June, 1978). Venturi's reliance on Empson is also stressed in Mallgrave, Modern Architectural Theory, op. cit., p. 401. Venturi, Complexity and Contradiction, 1966, op. cit., p. 18. One target of New Critical practice was the paraphrase as a vehicle for interpretation. Sypher, Four Stages, op. cit., p. 12. The fundamental rôle of New Criticism in the study of ‘Baroque culture and the Baroque as a critical concept’ is mentioned by T. Hampton, ‘Introduction. Baroques’, in ‘Baroque Topographies: Literature/History/Philosophy’, special issue, Yale French Studies, 80 (1991), pp. 1–9, esp. 2. R. Venturi, ‘Complexity and Contradiction in Architecture: Selections from a Forthcoming Book’, Perspecta, 9 (1965), pp. 17–56. An introductory note mentions that the text is copyrighted 1964 and scheduled for publication in 1965. Mallgrave, Modern Architectural Theory, op. cit., p. 401, remarks that the book published in 1966 was ‘substantially edited’. Venturi, Complexity and Contradiction, 1965, op. cit., p. 18. Compare this with the quotation in Complexity and Contradiction, 1966, op. cit., p. 28. Venturi, Complexity and Contradiction, 1965, op. cit., p. 20. In Complexity and Contradiction, 1966, op. cit., p. 71, the same citation, now without added emphasis, opens Chapter 9, ‘The Inside and the Outside’. Venturi, Complexity and Contradiction, 1966, op. cit., p. 26: ‘Though we no longer argue over the primacy of form over function (which follows which?), we cannot ignore their interdependence. The desire for a complex architecture, with its attendant contradictions, is not only a reaction to the banality or prettiness of current architecture. It is an attitude common in the Mannerist periods: the sixteenth century in Italy or the Hellenistic period in Classical art … Today this attitude is again relevant to both the medium of architecture and the program in architecture.’ In Venturi, Complexity and Contradiction, 1965, op. cit., p. 19, a shorter version of this passage opens Chapter 2, ‘Complexity versus Picturesqueness’: ‘Complexity must be constant in architecture. It must correspond in form and function. … We no longer argue over the primacy of form or function; we cannot ignore their interdependence, however.’ In the book, Chapter 2 begins with the second paragraph of the earlier version. Venturi, Complexity and Contradiction, 1966, op. cit., p. 46. Ibid., p. 24. Ibid., pp. 46–47. Ibid., p. 51. Mallgrave, Modern Architectural Theory, op. cit., pp. 401–403, rightly stresses that, throughout the course of the book, increasing attention is paid to architecture's social rôle, through an engagement with the everyday and its objects, similar to Pop Art. Mannerism as a result of cultural crisis is an idea with a long pedigree in Italian historiography, and prominent in, for instance, B. Zevi and P. Portoghesi, eds, Michelangiolo architetto (Turin, Einaudi, 1963). Complexity and Contradiction drew most of the images of Michelangelo's work from Zevi and Portoghesi's book: see photograph credits 94, 95, 111, 129, 181. Venturi, Complexity and Contradiction, 1977, op. cit., pp. 12, 14. Venturi, Scott Brown and Izenour, Learning from Las Vegas, op. cit., p. 3. In Venturi's later definition of mannerism in Architecture as Signs and Systems (2004), op. cit., convention is the key concept: see pp. 74–75. Venturi, Scott Brown and Izenour, Learning from Las Vegas, op. cit., p. 7. Ibid., p. 107. Ibid., p. 104. Ibid., p. 115. Venturi, Complexity and Contradiction, 1966, op. cit., p. 45. Venturi, Scott Brown and Izenour, Learning from Las Vegas, op. cit., p. 115. Ibid., p. 116. Ibid., pp. 18–19. See also Venturi, ‘Notes for a Lecture’, op. cit., p. 54. See ‘Nolli: Sector VII. Venturi & Rauch’, in, M. Graves, ed., ‘Roma Interrotta’, AD Profiles 20, Architectural Design, 49, 3–4 (1979), pp. 66–67. The text is a shortened, but otherwise unaltered, version of the passage referred to in Note 83. References to T. S. Eliot or other New Critical voices barely figure in Learning from Las Vegas, most notably, in the chapter on ‘inclusion and allusion in architecture’, which partly rehearses the chapter on the conventional element in Complexity and Contradiction. Again, it is instructive to compare two similar points: ‘Pop Art has demonstrated that these commonplace elements are often the main source of the occasional variety and vitality of our cities, and that it is not their banality or vulgarity as elements which make for the banality or vulgarity of the whole scene, but rather their contextual relationships of space and scale’ (my italics), Venturi, Complexity and Contradiction, 1966, op. cit., p. 52; ‘Pop artists have shown the value of the old cliché used in a new context to achieve a new meaning—the soup can in the art gallery—to make the common uncommon’ (my italics), Venturi, Scott Brown and Izenour, Learning from Las Vegas, op. cit., p. 72. The work of Allan Colquhoun and Charles Jencks now receives an accolade: see Venturi, Scott Brown and Izenour, Learning from Las Vegas, op. cit., pp. 8, 131–132. It should be noted that August Heckscher's The Public Happiness, a study of the confusion brought about by shifting conceptions of private and public life, used in Complexity and Contradiction to define the complications of contemporary society, also appears in Learning from Las Vegas, op. cit., pp. 53f, in the section on ‘Inclusion and the difficult order’, another passage clearly reminiscent of Complexity and Contradiction. The distinction between mannerism and symbolism is reiterated in Venturi's later writings: see, for instance, Venturi, ‘Notes for a Lecture’, op. cit., p. 53. In the Note to the Second Edition, Venturi writes that he wished the title of the book had been Complexity and Contradiction in Architectural Form. See Venturi, Complexity and Contradiction, 1977, op. cit., p. 14. This points to his ambition to distinguish the aim of Complexity and Contradiction clearly from Learning from Las Vegas, the second edition of which, also of 1977, was subtitled The Forgotten Symbolism of Architectural Form. Venturi, Scott Brown and Izenour, Learning from Las Vegas, op. cit., p. 161." @default.
• W2022861029 created "2016-06-24" @default.
• W2022861029 creator A5051793469 @default.
• W2022861029 date "2010-06-01" @default.
• W2022861029 modified "2023-09-24" @default.
• W2022861029 title "Mannerism and meaning inComplexity and Contradiction in Architecture" @default.
• W2022861029 doi "https://doi.org/10.1080/13602365.2010.486562" @default.
• W2022861029 hasPublicationYear "2010" @default.
• W2022861029 type Work @default.
• W2022861029 sameAs 2022861029 @default.
• W2022861029 citedByCount "4" @default.
• W2022861029 countsByYear W20228610292014 @default.
• W2022861029 countsByYear W20228610292016 @default.
• W2022861029 countsByYear W20228610292020 @default.
• W2022861029 countsByYear W20228610292021 @default.
• W2022861029 crossrefType "journal-article" @default.
• W2022861029 hasAuthorship W2022861029A5051793469 @default.
• W2022861029 hasConcept C107038049 @default.
• W2022861029 hasConcept C111472728 @default.
• W2022861029 hasConcept C123657996 @default.
• W2022861029 hasConcept C138885662 @default.
• W2022861029 hasConcept C142362112 @default.
• W2022861029 hasConcept C144024400 @default.
• W2022861029 hasConcept C153349607 @default.
• W2022861029 hasConcept C2776728590 @default.
• W2022861029 hasConcept C2780876879 @default.
• W2022861029 hasConceptScore W2022861029C107038049 @default.
• W2022861029 hasConceptScore W2022861029C111472728 @default.
• W2022861029 hasConceptScore W2022861029C123657996 @default.
• W2022861029 hasConceptScore W2022861029C138885662 @default.
• W2022861029 hasConceptScore W2022861029C142362112 @default.
• W2022861029 hasConceptScore W2022861029C144024400 @default.
• W2022861029 hasConceptScore W2022861029C153349607 @default.
• W2022861029 hasConceptScore W2022861029C2776728590 @default.
• W2022861029 hasConceptScore W2022861029C2780876879 @default.
• W2022861029 hasIssue "3" @default.
• W2022861029 hasLocation W20228610291 @default.
• W2022861029 hasOpenAccess W2022861029 @default.
• W2022861029 hasPrimaryLocation W20228610291 @default.
• W2022861029 hasRelatedWork W1523468293 @default.
• W2022861029 hasRelatedWork W1990468455 @default.
• W2022861029 hasRelatedWork W1997213230 @default.
• W2022861029 hasRelatedWork W2129915700 @default.
• W2022861029 hasRelatedWork W2289921224 @default.
• W2022861029 hasRelatedWork W2294295454 @default.
• W2022861029 hasRelatedWork W2354707986 @default.
• W2022861029 hasRelatedWork W2748952813 @default.
• W2022861029 hasRelatedWork W3130318308 @default.
• W2022861029 hasRelatedWork W4210486061 @default.
• W2022861029 hasVolume "15" @default.
• W2022861029 isParatext "false" @default.
• W2022861029 isRetracted "false" @default.
• W2022861029 magId "2022861029" @default.
• W2022861029 workType "article" @default.