Waiting Room: Anxious, Reading, Liszt

1   b

2009.01.29 10:21
Venturi's Lieb (No. 9) House to be moved (or demolished)
It was a windy day in May, 1977, just after the end of 2nd year. The five of us, Ellen, Sue, Ron, Tony and myself, drove down in my 2nd hand VW bug/sedan--like college kids packed in a phonebooth. We reenacted the classic shot of sitting on the steps even, and then went on to look at the Murphy Levy Wurman houses also on the island. Scully's "historian's revenge" you know.
Gordon would love to now cut up one of his inspirations, and Kahn's thinking "the further wayward adventures of the Fisher House hippie child".
1. Nonstraightforward Architecture: A Gentle Manifesto
2. Complexity and Contradiction vs. Simplification or Picturesqueness
3. Ambiguity
4. Contradictory Levels: The Phenomenon of "Both-And" in Architecture
5. Contradictory Levels Continued: The Double-Functioning Element
6. Accommodation and the Limitations of Order: The Conventional Element
7. Contradiction Adapted
8. Contradiction Juxtaposed
9. The Inside and the Outside
10. The Obligation Toward the Difficult Whole
11. Works
Photograph Credits

2009.01.29 14:37
Venturi's Lieb (No. 9) House to be moved (or demolished)
For clarity's sake, the Lieb House is not among the works published within Complexity and Contradiction; the Lieb House is among the works published within Learning from Las Vegas, 1st edition:
The Lieb House
Loveladies, New Jersey, 1967
(with the assistance of Gerod Clark [who may be the first architect to collage magazine people within architectural renderings])
It is easy to explain what the Lieb House is not: It is not a tasteful natural-wood-shingled configuration of complex and contradictory wings and roofs. It is an ordinary shed with conventional elements. It uses asbestos shingles with imitation wood-grain relief, once the indigenous building material on Long Beach Island. And it uses big elements, such as the stair that starts out the width of the house and gradually decreases to three feet on the second floor. Its unconventional elements are explicitly extraordinary when they do occur, as in the big round window that looks like a 1930s radio loud-speaker. It is a little house with big scale, different from the houses around it but also like them. It tries not to make the plaster madonna in the birdbath next door look silly, and it stands up to, rather than ignores, the environment of utility poles.




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