Venturi, Robert

▪ American architect

in full  Robert Charles Venturi  

born June 25, 1925, Philadelphia, Pa., U.S.

      American architect who proposed alternatives to the functionalist mainstream of 20th-century American architectural design. He became the unofficial dean of the eclectic movement known as postmodernism.

      Venturi studied at the Princeton University School of Architecture in New Jersey (1947–50). After further study at the American Academy in Rome (1954–56), he worked as a designer in the architectural firms of Oscar Stonorov (Philadelphia), Eero Saarinen (Saarinen, Eero) (Bloomfield Hills, Mich.), and Louis I. Kahn (Kahn, Louis I.) (Philadelphia). After holding partnerships in several firms, he opened a longer-lasting architectural firm with John Rauch in 1964. Venturi's wife, Denise Scott Brown, became a partner in the firm in 1967. From 1957 to 1965 Venturi was a member of the faculty at the University of Pennsylvania School of Architecture in Philadelphia.

      Venturi's own architectural philosophy, set forth in the influential book Complexity and Contradiction in Architecture (1966), called for an eclectic approach to design and an openness to the multiple influences of historical tradition, ordinary commercial architecture, and Pop art. He championed the ambiguity and paradox, the “messy vitality” of the great architecture of the past over the simple, unadorned, cleanly functional buildings of the International Style. Venturi's manifesto had a profound impact on younger architects who were beginning to find similar constraints and limitations in the Modernist (Modernism) architectural aesthetic.

      In Learning from Las Vegas (1972), Venturi and coauthors Denise Scott Brown and Steven Izenour took this critique several steps further and analyzed with wry appreciation the neon-lit urban sprawl and the automobile-oriented commercial architecture of Las Vegas. They questioned the Modernists' rejection of the use of applied ornament and decoration and ended the book with a discussion of their own work. In the second volume of the Supercrit series, which is based on live debates, Venturi and Brown revisited the work (2007).

      Venturi's buildings frequently exhibit the ironic humour of his theoretical pronouncements. His early buildings incorporated materials and visual references standard to the shopping centre and subdivision but previously shunned by so-called serious architects. During the late 1970s and '80s he turned to historical precedent in his work, which often makes studied allusions to building styles of the past. Formal and stylistic elements are combined with a willful inconsistency that can seem playful, quirky, or even bizarre. Among Venturi's more important commissions were various buildings for Yale University, Princeton University, and Ohio State University. He designed several museums, notably the Seattle Art Museum (1985), the Sainsbury Wing (1986) of the National Gallery in London, and the Museum of Contemporary Art in San Diego (1996). In 1991 Venturi won the Pritzker Architecture Prize.

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