AD Classics: Vanna Venturi House / Robert Venturi

Textual explanation provided by the architect. Most critics generally think that building consistency is an important aspect of design. However, at the Vanna Venturi House, Robert Venturi embarked on fewer paths, tested the complexity and inconsistencies of the building and violated the norm.

Pennsylvania state Pennsylvania chestnut hill is surrounded by a flat separated by surrounding trees, designed and built by mother between 1962 and 1964. Venturi slowly experienced the six fully exercised house versions known as the latter while testing for his view on complexity and contradiction (which he wrote "complexity and contradiction in architecture") . The first example of modern architecture

When approaching Banna Venturi's house, people can distinguish the iconic image of shelter through its outer wall This symmetrical gable is like a classic gable.

The main entrance is located in the center, and the sense of symmetry is born by the position of the window. These windows are arranged according to internal functions. For example, the kitchen has a modern ribbon window, and the front window has a bedroom and a bathroom on the opposite side of the front of the front.

The interior is in the center of the fireplace and is a fireplace in the house, but the design of Venturi is a "universal" house with an unusual twist and rotation. The program consists of five multipurpose rooms, the outside of which is related to the public scale and looks much bigger than it actually is. The "universal" fireplace is actually located next to the stairs competing with the fireplace as the core of the house. The fireplace is empty, the stairs are sturdy, and the shapes of the two vertical elements are distorted to make room for the others

After entering, there is a main living space. There is a kitchen and a bedroom on the ground floor as requested by Mr. Venturi's mother. There is another bedroom, storage space and terrace on the second floor. "Nowhere Stairs" on the second floor is also integrated into the core space. It rises at a tortuous angle, its function at one level is totally useless due to its steep slope, and at the other level it acts as a ladder to clean the second high windows.

To create more contradiction and complexity, Venturi experimented on scale. In the house, certain elements such as the size of the fireplace and the height of the mantle compared to the size of the room are "too big."

In contrast to the magnificence of the entrance space in particular, the door is wide and the height is low. On the back of the house there is an oversized lunet window exaggerated in size along the main elements of the exterior. Because Venturi keeps the loop space of the house design to a minimum, it consists of independent large rooms which divided the two rooms finely.

Venturi called the exterior as a layered system. The expected effect is to make the outer walls wall and screen. For example, the east side glass wall is recessed to form a covered garden shielded by the back wall. The same idea applies to the smaller size of the bedroom opposite the house

As a declaration of post-modern architecture, Vanna Venturi House is a combination of rectangular, curved, and diagonal elements in a way that undoubtedly creates complexity and contradiction.

Vanna Venturi House (1962-64) of Robert Venturi described in detail the purpose of postmoderns to convey meaning and symbolism. According to Venturi, the exterior is a symbolic picture of a house dating back to the 18th century. This is accomplished by using symmetry and arch at the entrance. Perhaps the most ironical example of post-modern architecture is Charles Moore's Plaza of Italy (1978). Moore lists elements of Italian Renaissance and ancient Rome (architecture). But he has a turning point in doing so. It is ironic when people notice that the pillars are covered with steel. His reference to the ancient Italian way of getting away from the original works of New Orleans is also contradictory.

Vanna Venturi House may affect other people than Venturi wishes to acknowledge. Today, the house may look like the predecessor of Philip Johnson of AT & T Building in New York (now Sony Building). A classic and easy-to-understand Chippendale gable covering the AT & T building is reminiscent of the design of the roof of Vanna Venturi House in Venturi. By the 1970's, other architects began to imitate Venturi. A page translated into Venturi's success and a new form of post-modern architecture, which he helped with development, architectural history