Post Modem Architecture

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Post Modem Architecture



Venturi until the end of time intended to become an architect. He was born in 1925 and studied at Princeton University. Three years after his graduation, he received a Master of Fine Arts from Princeton. He proceeded to work with celebrated architects of the day, the reminiscent of Louis Kahn and Eero Saarinen. Since time Venturi has been a fan of Italian as well as English architecture. He embarked on a journey that was inclined to questioning the tastelessness that was suffocating American cities, tastelessness in architecture that was known as Modernism.


Venturi’s Definitions: Feature, History, and Representation


The intricacy and incongruity in architecture was published by venture in 1966. This was a vastly inspiring manuscript for all who accomplished some shape of architecture. Initially, it appeared to punch contemporary architecture. Actually, this was not the anticipated significance; the architect was mainly expounding on his point of reference in opposition to Modernism. Venturi was optimistic for an impressive and eminent design than those arctic and rigorous straight contours of Modernism. Since Venturi’s school of thought was termed a radical standpoint, the architectural society and fastidiously those that embraced the Modernist phenomenon were somehow disgusted (Venturi Robert 1973, 46-53).



Venturi had very few structural designs of his ingenuity to display, promulgating his opinions to the masses by asserting that popular yet seemingly successful movement in architecture over the previous several hundred years was blemished. He attempted to unravel what he conceived as flaws in architectural perception when co-authoring learning from Las Vegas (1977) in this book he approved that, despite the supposed defects within the stripe, such as the sporadic positioning of buildings and parking lots, the stripe was existential. Las Vegas aided Venturi in learning how to examine existing landscape; he went from there accommodating what he was given. The architectural discipline was horror-struck by these maxims. Majority felt that major boulevards across the country, including the Las Vegas Strip, were intrinsically defective and needed reengineering of sorts. Through massive research work, Venturi realized that booming architecture did utilize representation that was indigenous to a given terrain. He emphasized to a society’s vernacular, the common techniques, styles, and traditions that could be employed in constructing a building in a particular region. Consequently, he was known as the first cardinal American architect to give momentum to lingo techniques through his characters of the 60s. It is fascinating to comprehend that Venturi was the original architect to take this standpoint, a position that appears only natural in retrospect (Venturi Robert 1973, 46-53)


To put it briefly Venturi went ahead to say that uncomplicated facades of contemporary architecture were not charming enough. Alternatively, he chose to display meticulous characteristics such as tinted brick model within the fortifications of his constructions. Venturi was gallant in his application colors and patterns in his blueprints. The love of affluence and imagery in blueprints was evident in Venturi’s Sainsbury Wing and the London’s National Gallery, a piece of work that was welcomed with much honor. Basing on his versatility in his architectural scheme, Venturi was appointed to design the new-fangled addition where he incorporated themes from existing arrangement, although the adding together was conspicuously diverse. His latest design maintained most of the outdoor subject from the obtainable frontage but also integrated a vast assortment of skylights and an irregularly fashioned and non-proportioned floor arrangement. Similar to Prince Charles of England, Venturi shared the identical disparagement for the effortlessness of Modernism (Venturi Robert 1973, 46-53). In Ohio Venturi was commissioned to design a subsequent project, this was an addition to the Allen Memorial Art Museum at Oberlin College. With reference to Sainsbury Wing embedment, Venturi and his staff realized the objective of constructing an addition that conformed to a series of interior uses although precluded stealing the original buildings importance by putting more emphasis on definite attributes of the architectural pearl (Wright, Frank Lloyd, 1977, 23-29). The embedment to the Allen Memorial Art Museum was made public in nineteen seventy-seven. It was viewed as one of the finest examples of postmodern architecture in the US Venturi’s augmentation, with its inventive use of ornamentation and symbolism, generously harmonized the original Tuscan-technique building upon which it was emotionally involved. Alongside the additions, Venturi produced a sequence of diminutive structural buildings during the 1970s- most of which are not known by most Americans.

In spite of their lack of recognition, some of Venturi’s conceited achievements were houses that look like houses. He was inclined to creating fire ranks that appeared like fire ranks and hospices like hospices. Venturi confessed that what he and his firm were doing appalled people, particularly Modern architects. Venturi premeditated structural designs that were ostensibly average looking and that were not revolutionary like Modern style buildings, with their excessive simplicity. In creating a home in the conventional lingo, he spoke directly to a restricted populace (Wright, Frank Lloyd, 1977, 23-29) Nevertheless, by embracing commonality and ordinariness in his architecture, Venturi had in fact taken a revolutionary path of his own. What Venturi did with his style of architecture was unlike anything people had been habituated to throughout much of 20th century. Logically, it took a fair amount of time for the architectural society to digest it. With everything, he held precious, Venturi integrated antique and pertinent, yet undemanding, embellishment into his blueprint. Nonetheless, while he was a staunch advocate of his use of history, he argued a more emblematic, rather than unembroidered, imagery. Quintessentially, if Venturi were given a contract to scheme an addition to the White House in Washington or some other iconic construction, he would not try to create a duplicate image of the White House. As an alternative, he would employ the most current construction methods accessible to create a blueprint that incorporates themes from the White House; he would construct descriptions to harmonize the character of the obtainable manor (Wright, Frank Lloyd, 1977, 23-29). In 1975, Venturi and company associates were appointed to invigorate a walkway-type shopping hub in Galveston, Texas, well known as The Strand. At this juncture, Venturi as well as his staff took myriad of the Art Deco and 19th century-style buildings into consideration but realized that a solitary technique of historic architecture could not be favored over others in the renaissance. As a way to unify the neighborhood, a series of color schemes was proposed, the original canopied pathway was reconstructed, and a visually engaging signage arrangement classification was fashioned.

The outcome was an exceptional cantankerous design that assisted a poor neighborhood in salvaging its former tractions. Venturi fashioned a type of fusion architecture that integrated tads and parts of the past with bits and pieces of the contemporary, to produce a different result each time. Blueprints created by Venturi were highly successful. He embraced historical symbolism and folklore, which were incorporated through far-reaching explorations. Venturi and his team favored to conduct reviews on the ground where their blueprints were to get a feel of the residents in bid to comprehending the remote perception towards the design. What is fundamental to comprehend is the fact why Modernism was unsuccessful to communicate to the wide-ranging population is centered on its boring as well as featureless and held no implication for anyone. In the same interview, Venturi remarked on how Modernism implicated a discreet move towards, in essence, there was barely room for historical symbolism that was integrated in a Modern-style construction (Heinrich K, 70-79) Venturi’s plans differed a great deal from project to project, there was no one right or erroneous portion of enhancement that could be employed. Each of his buildings was different from all others since particular historical factors from a given region contributed to the symbolism that Venturi incorporated in his work (Heinrich K, 70-79). The fact that Venturi was inclined to incorporating symbolism in his designs, a wide range of individuals appreciated and comprehended his conventionally inspired structural designs. Most of his imagery emanated from influences such as local materials, restricted building practices, climate and the largely structure location. These constituents came together in his mind to construct unique hybrid architecture, one that most individuals came to call Postmodernism. Other architects dubbed Venturi’s use of symbolism. According to research, Postmodernism reminded these architects that structural designs had figurative roles to play, that character could be more imperative than aesthetic composition.

Modernism engaged symbolism through I-beams as well as repetitive window trends and slips of goblets that wrapped gigantic skyscrapers. Space creation became a cause of disagreement for Modernists. They had flooded all the remains of symbolism, and as Venturi puts it, contemporary structural designs had fundamentally become cryptograms in themselves. Dissimilar to the modernists, Venturi wanted to recognize the noiseless pallid mainstream of architecture, by creating a design that spoke to as many people of a particular region as possible by incorporating symbolism and tradition in architecture (Heinrich K, 70-79). Vanna Venturi House is perhaps the better-known diminutive architectural design; a blueprint that he dedicated to his mother it was built in 1964. The building is the type of house hybrid that Venturi so often sought to construct in his life’s work. By merging persuades from American tradition with elements from European symbolism, he created a house that maintained the pitched roof- common in much of the US. The building had a centered front entrance as well as chimney on top (Mark J 2004, 100-09)


The creed developed by Venturi was not overtly adhered to, and many of them were taken out of framework and embroidered. Notwithstanding these impediments, even if Venturi continued top proliferate blueprints of exceptional eminence that exhibit symbolic traditions passed down through cultures and contemporary and innovative structural design patterns. Whereas Venturi may not illustrate himself as a postmodern inventor, the terminology suites him since he drifted away from the staleness of Modernism. Architects from the 60s and the 80s that walked down this path are typical Postmodernist. In a nutshell, Venturi and other architects identified the architectural anomaly in the American society and were pragmatic in redeeming the mess (Venturi Robert 1973, 46-53). Architecture is a vote of future generations to eavesdrop to; it champions the values and traditions that are inherent within the society. Modernism was unsuccessful in conveying the needs, desires and values of American populace since it was not intended for them. Postmodernism, was geared to advocating for impassive architecture. Venturi’s approach in presenting postmodern architecture achieved greatly. Through the architectural scheme, pertinent cryptogram and patterns were incorporated in his designs, developing hybrid architecture, unique each time he began a new project. Venturi contributed most of time tackling the complaints of society through construction with blueprint aimed at the restricted echelons Venturi Robert 1973, 46-53).






Mark J The Disciplinary Dislocations of Architecture History, Journal of the Society of Architectural Historians. Cornell University Dept, 2004, 100-09


Heinrich K, Genesis of Postmodern Architecture, University Chicago Press 1973, 70-79


Venturi Robert Intricacies and Ambiguity in Architecture; Post Modern Architecture; Princeton University Press, 1973, 46-53


Wright, Frank Lloyd, Learning from Las Vegas; the forgotten symbolism of the architectural shape: MA: MIT Press, 1977, 23-29