not an easy book

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Each learned most from very different things. Le Corbusier's great teacher was the Greek temple, with its isolated body white and free in the landscape, it luminous austerities clear in the sun. In his early polemics he would have his buildings and his cities just that way, and his mature architecture itself came more and more to embody the Greek temple's sculptural, actively heroic character. Venturi's primary inspiration would seem to have come from the Greek temple's historical and archetypal opposite, the urban fašades of Italy, with their endless adjustments to the counter-requirements of inside and outside and their inflection with all the business of everyday life: not primarily sculptural actors in vast landscapes but complex spatial containers and definers of streets and squares.
Vincent Scully, "Introduction" in Complexity and Contradiction in Architecture (1966), p. 12.




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