COMPLEXITY & CONTRADICTION IN ARCHITECTURE, DECONSTRUCTION : FUNDAAMENTAL BELIEFS AND PHILOSOPHY.

1. ROBERT VENTURI
SIX POINTS OF BOOK
‘’COMPLEXITY & CONTRADICTION IN ARCHITECTURE“
BY
Submitted by
Datharaj K R
Mohammed Shammas C U
W. Geethchand Singh
BEADS, Mangalore
Submitted to
Prof. Zeeshan Haider
BEADS, Mangalore

2. BIO
ROBERT VENTURI
‣ BORN: June 25, 1925 (age 88) Philadelphia, Pennsylvania
‣ AWARDS: Pritzker Prize (1991)
‣ Vincent Scully Prize (2002
‣ FOUNDING PRINCIPAL of the firm Venturi, Scott Brown and
Associates
‣ SCHOOL: Episcopal Academy in Merion, Pennsylvania
‣ GRADUATION: Princeton University, won the D'Amato Prize in
Architecture
‣ WORK EXPERIENCE: Eero Saarinen in Bloomfield Hills,
Michigan, Louis Kahn in Philadelphia

4. COMPLEXITY AND CONTRADICTION IN ARCHITECTURE
SIX POINTS
‣ Complexity and Contradiction vs.
Simplification or Picturesqueness
‣ Ambiguity
‣ The Phenomenon of "Both-And" in
Architecture
‣ The Double-Functioning Element
‣ The Inside and the Outside
‣ Non-straight forward Architecture:
A Gentle Manifesto

5. 1
COMPLEXITY AND CONTRADICTION VS. SIMPLIFICATION OR PICTURESQUENESS
Criticizes "orthodox Modern architects" and their
treatment of (and attitudes toward) complexity.
Venturi feels that diversity in architecture represents a
type of sophistication that is lost in the works of the
Modernists.

6. 2
AMBIGUITY
Simplicity does not always work, because it often results in
an architectural "blandness."
Venturi also careful to make a distinction between
"simplicity" and "simpleness" before retorting that "less is
a bore."

8. 3
CONTRADICTORY LEVEL: THE PHENOMENON OF "BOTH-AND" IN ARCHITECTURE
Rather than strictly "either-or," which is not inclusive.
“Both-and" architecture promotes hierarchy within it,
which leads to contrasts, layers and levels of meanings.

10. 4
CONTRADICTORY LEVEL: THE DOUBLE-FUNCTIONING ELEMENT
It derives one meaning from their original/historical
context and those associations, and the new meaning
from its contemporary function or context.

12. 5
THE INSIDE AND THE OUTSIDE
Contrast between the inside and the outside can be a
major manifestation of contradiction in architecture.
How- ever, one of the powerful twentieth century
orthodoxies has been the necessity for continuity
between them: the inside should be expressed on the
outside.

14. 6
NON-STRAIGHT FORWARD ARCHITECTURE: A GENTLE MANIFESTO
The Embracing "contradiction and complexity" in order
to create valid, vital works.
Venturi also touches on the concept that richness can
contrast with clarity, and urges architects to leave the
tenets of traditional Modernism behind in pursuit of
"truth in its totality," a sort of organic messiness that he
perceives as more real and useful than overly planned,
hyper-logical Modernist constructions.

15. “LESS IS BORE”
Robert Venturi

16. PETER EISENMAN
DECONSTRUCTION : FUNDAMENTAL BELIEFS AND
PHILOSOPHY AND IDEAS OF
Submitted by
Datharaj K R
Mohammed Shammas C U
W. Geethchand Singh
BEADS, Mangalore
Submitted to
Prof. Zeeshan Haider
BEADS, Mangalore

17. DECONSTRUCTIVISM
IT IS CHARACTERISED BY
FRAGMENTATION,
MANIPULATION OF A
STRUCTURE’S SURFACE, NON-
RECTILINEAR SHAPES,
UNPREDICTABILITY AND
CONTROLLED CHAOS
Walt Disney Concert hall Los Angeles, California. Architect Frank Gehry

18. Beijing National Stadium Architects: Ai Weiwei, Pierre de Meuron, Jacques Herzog, Li Xinggang
The Dancing House Prague, Czech Republic. Architects: Frank Gehry, Vlado Milunić
Lou Ruvo Center for Brain Health clinic in the Clark County, Nevada. Architect: Frank Gehry

19. BIO
PETER EISENMAN
‣Born On August 11,1932 , Newark, New Jersey
‣Attended Columbia High School, New Jersey
‣Completed B.Arch From Cornell University
Followed By M.Arch From Columbia University
‣M.A And Ph.D. Degrees From Cambridge
University
‣Career
‣He First Rose To Prominence As A Member
Of The New York Five (A Group Of Five
Architects) : Eisenman, Charles Gwathmey,
John Hejduk, Richard Meier, Michael Graves
‣These Architects’ Work At That Time Was
Considered A Reworking Of The Ideas Of
Le Corbusier
‣Later On Eisenman Became More Affiliated
To Deconstructivism

20. FUNDAMENTAL BELIEFS AND PHILOSOPHY AND IDEAS OF PETER EISENMAN
PHILOSOPHY
• HE REJECTED THE
FUNCTIONAL CONCEPT OF
MODERNISM BY DESIGNING
STAIRWAYS THAT LED
NOWHERE OR COLUMNS
THAT DID NOT FUNCTION
AS SUPPORT

21. FUNDAMENTAL BELIEFS AND PHILOSOPHY AND IDEAS OF PETER EISENMAN
PHILOSOPHY
• HIS WORKS WERE
CHARACTERISED BY
DISCONCERTING FORMS,
ANGLES AND MATERIALS

22. FUNDAMENTAL BELIEFS AND PHILOSOPHY AND IDEAS OF PETER EISENMAN
PHILOSOPHY
• ACCORDING TO EISENMAN,
WHEN YOU CAN SENSE THE
INCOMPLETENESS OF A FINISHED
STRUCTURE, IT IS A PARADOXICAL
EXPERIENCE. IF THE PARTS THAT
MAKE UP A WHOLE ARE IN
CONFLICT, THE SENSATION OF
THE INCOMPLETE CONTESTS THE
FACT THAT THE STRUCTURE IS, IN
FACT, A FINISHED AND FULLY
ENCLOSED SPACE PHILOSOPHY

23. HIS WORKS
•CITY OF CULTURE OF GALICIA, SPAIN
•ARONOFF CENTER FOR DESIGN AND ART
•MEMORIAL TO THE MURDERED JEWS OF EUROPE, BERLIN
•WEXNER CENTRE OF THE ARTS, COLUMBUS, OHIO
•HOUSE VI (FRANK RESIDENCE), CONNECTICUT
University of Cincinnati College of Design, Architecture, Art, and Planning. Architect Peter Eisenman

24. CITY OF CULTURE OF GALICIA,
SPAIN
Location:
Santiago de Compostela, Spain
Year:
1999 - current
Client:
Fundación Cidade da Cultura de Galicia
Status:
Built

25. CITY OF CULTURE OF GALICIA, SPAIN

26. CITY OF CULTURE OF GALICIA, SPAIN
• A COMPLEX OF CULTURAL BUILDINGS IN
SANTIAGO, GALICIA, SPAIN
• IT WAS DESIGNED BY A GROUP OF
ARCHITECTS LED BY PETER EISENMAN
• CONSTRUCTION WAS EXPENSIVE AND
CHALLENGING AS THE DESIGN OF THE
BUILDINGS INVOLVES HIGH DEGREE
CONTOURS, MEANT TO MAKE THE BUILDINGS
LOOK LIKE ROLLING HILLS
• NEARLY EVERY WINDOW HAD ITS OWN
CUSTOM SHAPE
• IT INCLUDES A LIBRARY, THE ARCHIVE OF
GALICIA, A MUSEUM AND CENTRAL SERVICES
BUILDING MUSEUM OF GALICIA

27. CITY OF CULTURE OF GALICIA, SPAIN

28. ARONOFF CENTER FOR DESIGN
AND ART
Location: Cincinnati, Ohio
Year:1988 - 1996
Client: University of Cincinnati
Status: Built

30. ARONOFF CENTER FOR DESIGN AND ART
LOCATION
OHIO, CINCINNATI
FUNCTION
AUDITORIUM, LIBRARY,
UNIVERSITY
THIS PROJECT ENTAILED A MAJOR
ADDITION AND RENOVATION, TO
HOUSE STUDIOS AND
CLASSROOMS FOR THE UNIVERSITY
OF CINCINNATI COLLEGE OF
DESIGN, ARCHITECTURE, ART AND
PLANNING.

31. ARONOFF CENTER FOR DESIGN AND ART

32. WEXNER CENTER FOR THE VISUAL ARTS AND
FINE ARTS LIBRARY
Program:
Museum and Library
Status:
Built

33. WEXNER CENTER FOR THE VISUAL ARTS AND FINE ARTS LIBRARY

34. WEXNER CENTER FOR THE VISUAL ARTS AND FINE ARTS LIBRARY
• IT IS THE OHIO STATE UNIVERSITY’S
MULTIDISCIPLINARY, INTERNATIONAL LAB
FOR THE EXPLORATION AND ADVANCEMENT
OF CONTEMPORARY ART
• AREA: 108 SQ. FT
• THREE-STORY BUILDING
• PETER EISENMAN WON THE DESIGN
COMPETITION OVER FOUR OTHER
EXPERIENCED FINALISTS IN 1983
• INCLUDES A LARGE WHITE METAL GRID
MEANT TO SUGGEST SCAFFOLDING TO GIVE
THE BUILDING A SENSE OF INCOMPLETENESS
• IT HOUSES A FILM AND VIDEO THEATER,
PERFOMANCE SPACE, A FILM AND VIDEO
POST PRODUCTION STUDIO, A BOOKSTORE,
CAFÉ AND 12,000 SQ. FT OF GALLERIES

35. WEXNERCENTERFORTHEVISUALARTSANDFINEARTS
LIBRARY

36. BERLIN MEMORIAL TO THE MURDERED JEWS OF
EUROPE
Location:
Berlin, Germany
Year:
1998 - 2005
Client:
Stiftung Denkmal für die emordeten Judan Europas
Status:
Built

37. BERLIN MEMORIAL TO THE MURDERED JEWS OF EUROPE
• IT IS ALSO KNOWN AS HOLOCAUST
MEMORIAL
• IT IS A MEMORIAL IN BERLIN TO THE
JEWISH VICTIMS OF THE HOLOCAUST,
DESIGNED BY EISENMAN AND ENGINEER
BURO HAPPOLD
• IT CONSISTS OF 4.2 ACRE SITE COVERED
WITH 2,711 CONCRETE SLABS/STELAE
ARRANGED IN A GRID PATTERN ON A
SLOPING FIELD
• IT TOOK 1 YEAR FOR ITS COMPLETION
• IT WAS DESIGNED TO PRODUCE AN
UNEASY AND CONFUSING ATMOSPHERE

38. HOUSE VI (FRANK RESIDENCE),
CONNECTICUT
Location:
Cornwall, Connecticut
Year:
1972 - 1975
Client:
Mr. and Mrs. Richard Frank
Program:
Residential
Status:
Built

39. HOUSE VI (FRANK RESIDENCE), CONNECTICUT

40. HOUSE VI (FRANK RESIDENCE), CONNECTICUT
• STYLE: DECONSTRUCTIVIST
• IT IS ALSO KNOWN AS FRANK
RESIDENCE
• CONSTRUCTION PERIOD: 1972-1975
• PLACE: UNITED STATES
• THE BUILDING IS MEANT TO BE “A
RECORD OF DESIGN PROCESS”
• TO START EISENMAN CREATED A FORM
FROM THE INTERSECTION OF FOUR
PLANES SUBSEQUENTLY MANIPULATING
THE STRUTURES AGAIN AND AGAIN
• BUT DUE TO EISENMAN’S LACK OF
EXPERIENCE AT THE TIME RESULTED IN A
POORLY DETAILED BUILDING

41. HOUSE VI (FRANK RESIDENCE), CONNECTICUT

43. References:-
Data:- https://www.slideshare.net/juzme_nad/deconstructivism-and-peter-eisenman
Images: - http://www.eisenmanarchitects.com

44. Thank you