Posts tagged with "Robert Venturi":

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Postmodernism Post-Denial

Postmodernism, the exuberant, eclectic, and ironic style born out of the death of the modernist dream in the 1960s and 70s, was the subject of the two-day-long "Reconsidering Postmodernism" conference last weekend, presented by the Institute of Classical Architecture & Art, at the CUNY Graduate Center in New York. The two marathon days of lectures, panels, and videos was filled with the original rock stars of the postmodernist world, including architects Robert A. M. Stern and Michael Graves, theorists Charles Jencks and Tom Wolfe, urbanists Andres Duany and Elizabeth Plater-Zyberk, and a small but passionate younger crowd who couldn’t help but revel in the rambunctiousness of their vaunted forebearers. The beginning of postmodernism, an active topic at the conference, was assigned multiple dates. It was either with the demolition of the Pruitt-Igoe low-income houses in 1972, which Charles Jencks defines as “the day modernism died,” with the publication of Robert Venturi’s Complexity and Contradiction in Architecture in 1966, perhaps with the opening of Morris Lapidus’ first bodacious beach resort in 1949, or it even could have been at the beginnings of modernism itself, when hairline cracks in the modernist utopian vision had already begun to form. There were even Italian precedents: in the 1950s Torre Velasca, designed by Ernesto Rogers in Milan, and the Venice Architectural Biennale of 1980. Something about the conference compelled people’s interest in the big, chronically under-discussed themes of architecture. Andres Duany championed a broader classical canon, through his 175 (and counting…) orders of classicism. A discussion of stylistic evolution was continually present, causing architectural writer Witold Rybczynski to come to the conclusion at one point that taste is more important than style. “This is something we don’t discuss, but should” was a phrase uttered by many over both days. The conference showed that postmodernism is still controversial, but also that it is extremely alive today, proving to be a resilient and long lasting force in architecture. Reasons for this were debated. Barry Bergdoll, the Phillip Johnson Chief Curator of Architecture and Design at MoMA, asked if postmodernism was an attitude or a movement, suggesting the possible eternality of the mode, and that PoMo is not only analogous with the Mannerist or Hellenistic phases of architectural history, but actually the same thing. If modernism discarded everything that came before it, and began from “level zero,” as Gropius said it did, then postmodernism is letting everything flood back in, picking up where the world left off, and making a joke of it to lighten the mood. The “joke” of postmodernism was an important conference theme and recurred frequently. Humor mitigates the promotion of dogma, which was seen as a cause of modernism’s failure, and forces postmodernism to embrace its own flaws. Jokes also accept the world for what it is. As one conference-goer said, “The world isn’t as black and white as it used to be.” Humor was fantastically present over those two days. ICAA president Paul Gunther’s opening remarks on the morning of day one called postmodernism “A case of multiple personality disorders” before becoming a bit more serious and stating, correctly, that the purpose of the next two days was to “overcome the denial of postmodernism.” If not completely embraced by all in attendance, the conference at least succeeded in doing that. At the end of day two, with everything having been said, the final panel was oddly mellow and subdued. Perhaps nobody wanted to leave the reunion, or perhaps the gauntlet was being handed to the young people in the room, like Sam Jacob of the U.K. architecture firm F.A.T., architect and writer Jimmy Stamp, or any others of the wacky new generation of postmodernists.
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Graham Selling Books, Still Likes to Party

Many have lamented the disappearance of so many architecture book stores in recent years, chief among them the much-missed Prarie Avenue Books in Chicago. The Graham Foundation is doing their part to begin to fill that void by selling a selection of books at their stately home, the Madlener house. Tonight, the Foundation is hosting a holiday party and book store launch, from 5-8pm. The delightful exhibition, Las Vegas Studio: Images from the Archives of Robert Venturi and Denise Scott-Brown, is also on view. Stop by and stock up. The Graham Foundation, 4 West Burton Place, Chicago.
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Going Down River

We mentioned the passage of Robert Venturi's second built house from Jersey to the North Shore of Long Island last week, and here she is, afloat on the North Shore. Being helpless landlubbers, we missed the party on Pier 17, but Fred Schwartz was nice enough to send along these photos from the event. More after the jump.
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LIEBing for New Shores

The Lieb House, Robert Venturi’s second commission and once in danger of demolition, will soon be en route to its new location, but by sea, not by land. After a bit of resistance from Glen Cove town council, the house has been cleared to travel by barge to its new site in the Long Island town. The architect Frederic Schwartz and Jim Venturi, Robert’s son, led the fight to save the storied home. The beach house, completed in 1967 in Barnegat Light, New Jersey, was to be razed and replaced by its new owner. Schwartz and the Venturis negotiated a 10-day grace period to allow them to find a new location for the house before it was to be destroyed. They found a fitting new site for it alongside another Venturi-designed home on the Glen Cove property of Debbie Sarnoff and Robert Gotkin. The two-story, 2,000-square-foot Lieb House will now act as a guesthouse to the main residence. Featuring a large, segmented circular window and curiously large number “9” signage, the Lieb House became an immediate postmodern success. The not quite box-shaped home set the foundation for the then-burgeoning Venturi style. (Video courtesy The Press of Atlantic City). The Storefront for Art and Architecture is hosting a weeklong exhibition, including a pier party to watch it sail by, celebrating the house and its unusual move. Opening on March 11, the exhibition will feature a map highlighting the house’s current location, final destination, and the route it will take between the two. Original drawings and photographs of the house will also be on display. The following day, March 12, Storefront will present a conversation about the house and its fate with Robert Venturi and Denise Scott Brown. The couple had deplored the house’s once seemingly inescapable demise:

We think it is architecturally tragic: it is a very significant house. We enjoyed making it a Modernist box with views toward the sea via windows and a roof terrace, and with a big sign: "9". We loved that by accident the round window works as a halo to the neighbor's religious statue, and we loved working with wonderful, understanding clients.

Early on the morning after the discussion, the public is invited to Pier 17 between 7 am and 9 am, to watch the house cruise down the river toward its future habitat. Thirteen cameras, including a heli-cam, will be filming the move as part of a documentary on the house being produced by Jim Venturi.