Robert venturi 6 Pages 1540 Words

"The cladding of pink granite and red sandstone was used to create a decorative facade that as a whole plays a composite element when reinterpreting the main building features, Mr. Venturi said. His masterpiece is being adjusted.

"As the architects themselves admit it is aimed to provide studio to artists and simulate attic buildings that do not infringe them, so long as the school and workshop building's long" international " The strip window forms a boring appearance. A way to please the enthusiasm of residents beyond building enthusiasm. "

"It is a house built for young couples who want to collect pop art paintings and decorative artwork and respond to growing families.The property is 30 acres, quiet and beautiful, flat, open, forest This gallery is for collecting masses, second floor, second floor, occasionally formal meals, sometimes large pictures, but its main purpose is to create a large space inside.

"There is an opposing rhythm of the door and the window that makes the front door in the south remind us of Georgia's usual country house, but the two green glossy tiles form a bold Earl / Art Deco style pattern On the other hand, there is no pattern, there is a central pattern and a more complicated opening rhythm, the proportion reflecting the high part and the large inside space is large.

"The first important project of Venturi was his mother's house, Vanna Venturi House, from 1961 to 1964. It is very simple after the space of modernism is later, and the plan of the beach house project The plan like, the symbolic concept is not a purely spatial abstraction concept but the concept of a chimney - from which you can feel - the space is drawn From the chimney to the quality of the chimney And the space spreads

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.

Therefore, by the late 1960 's, a correspondence architecture for modernism began. Robert Venturi, Charles Moore, Philip Johnson, and Robert A. Stern gave several postmodern practitioners and established an important building model based on Modernist's visual trademark rejection within a few years did. When Charles Jenks wrote about the death of modernism in 1977, the concept of modernism seemed to be exaggerated, but as it seemed there was no more important life in modernism idioms, It was not outside. .

Since the 1960's, the American architect Robert Venturi (born 1925) has taken the initiative against the resistance of simple and purely functionalist "post-modern" modernist architecture. In his architecture and his work, he advocated a complex and contradictory building, symbolic and historical. In Princeton, Venturi received traditional architectural education under the direction of French architect Jean Rabat, trained by Ecole des Beaux Arts. From Labatut, Venturi learned not only how architects create architecture in the minds of architects but also how people think about the architecture on the street. Venturi also learned the famous scholar Donald Drew Egbert and architectural history. After that, a deep understanding of Venturi's architectural history is a source of important inspiration.