Writings
A controversial critic of the blithely functionalist and symbolically vacuous architecture of corporate modernism during the 1950s, Venturi has been considered a counterrevolutionary. He published his "gentle manifesto, "Complexity and Contradiction in Architecture" in 1966, described in the introduction by Vincent Scully to be "probably the most important writing on the making of architecture since Le Corbusier's 'Vers Une Architecture', of 1923." Derived from course lectures at the University of Pennsylvania, Venturi received a grant from the Graham Foundation in 1965 to aid in its completion. The book demonstrated, through countless examples, an approach to understanding architectural composition and complexity, and the resulting richness and interest. Drawing from both vernacular and high-style sources, Venturi introduced new lessons from the buildings of architects both familiar (Michelangelo, Alvar Aalto) and then forgotten (Frank Furness, Edwin Lutyens). He made a case for "the difficult whole" rather than the diagrammatic forms popular at the time, and included examples—both built and unrealized—of his own work to demonstrate the possible application of the techniques illustrated within. The book has been translated and published in 18 languages.
Immediately hailed as a theorist and designer with radical ideas, Venturi went to teach a series of studios at the Yale School of Architecture in the mid-1960s. The most famous of these was a studio in 1968 in which Venturi and Scott Brown, together with Steven Izenour, led a team of students to document and analyze the Las Vegas Strip, perhaps the least likely subject for a serious research project imaginable. In 1972, Venturi, Scott Brown and Izenour published the folio, A Significance for A&P Parking Lots, or Learning from Las Vegas later revised in 1977 as Learning from Las Vegas: the Forgotten Symbolism of Architectural Form using the student work as a foil for new theory. This second manifesto was an even more stinging rebuke to orthodox modernism and elite architectural tastes. The book coined the terms "Duck" and "Decorated Shed"--descriptions of the two predominant ways of embodying iconography in buildings. The work of Venturi, Rauch and Scott Brown adopted the latter strategy, producing formally simple "decorated sheds" with rich, complex and often shocking ornamental flourishes. Though he and his wife co-authored several additional books at the end of the century, these two have proved most influential.
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“Even in my own writings I cannot always recover the meaning of my former ideas; I know not what I meant to say, and often get into a regular heat, correcting and putting a new sense into it, having lost the first and better one. I do nothing but come and go. My judgement does not always forge straight ahead; it strays and wanders.”
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