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Idiosyncratic Differences Between the Eames House and the Vanna Venturi House: A Case Study

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Idiosyncratic Differences Between the Eames House and the Vanna Venturi House: A Case Study
D

Journal of Literature and Art Studies, ISSN 2159-5836
February 2012, Vol. 2, No. 2, 323-328

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Idiosyncratic Differences Between the Eames House and the
Vanna Venturi House: A Case Study
Kyuho Ahn
University of Oregon, Oregon, USA


In architectural fields, it is often unclear where to draw the line between Modernism and Postmodernism that often represent political debates between the ideology of orthodox modernity and the anti-ideology movement against
Modernism as a social and political movement, because architectural forms result from complex and multi-layers problem solving. This paper argues that a particular architectural style or vocabularies in these two eras could be described as architects’ idiosyncratic aesthetic tastes. Therefore, this study reveals two different architectural styles of two renowned architectural designs, the Eames House and the Vanna Ventri House that each represents
Modernism and Postmodernism. This paper demonstrates that Eames’ ideal image of home is depicted within a universal vocabulary and that Venturi’s idiosyncratic interest, curiosity of historical contexts, is revealed in a new neoclassical appearance in Mannerist manner. Also, this study reveals that the idea and presentation of the
Eameses’ house, representing their “love of objects”, is not only related to Venturi’s idea of complexity and contradiction, but also depicts a historical connection by “functioning decoration” for “extra cultural surprise”.
Keywords: Modernism, Postmodernism, the Eames House, the Vanna Venturi House, architectural style, architecture history

Introduction
Many times, especially in architectural fields, it is unclear where to draw the line between Modernism and
Postmodernism. In many artistic languages, such as music, painting, and the performing arts, political and cultural values reflect the values of humans and society. However, because architectural forms result from multi-layered problem solving, justifying cultural and



References: Goldberger, P. (1976). Venturi and Rauch. Global Architecture, 39. Jencks, C. (1996). The death of modern architecture what is post-modernism?. In L. E. Cahoone (Ed.), Modernism to postmodernism: An anthology (pp Kirkham, P. (1995). Charles and Ray Eames: Designers of the twentieth century. Cambridge: MIT Press. McDonough, M. (1989). The house that Eames built: A status report. ID: Magazine of International Design, 36(Sept./Oct.). Mead, C. (Ed.). (1989). The architecture of Rovert Venturi. Albuquerque, N.M.: University of New Mexico Press. Miers, C. (Ed.). (1989). Eames design: The work of the office of Charles and Ray Eames. New York: Harry N. Abrams, Inc.. Moos, V. S. (1987). Venturi, Rauch & Scott Brown: Buildings and projects. New York: Rizzoli International Publications. Rotenberk, L. (2000). Charles and Ray Eames: Pioneers in design. Inland Architect, 117(1), 34-36. Somol, R. (1998). Still crazy after all these years. Assemblage, 36, 84-92. Steele, J. (1999). Charles and Ray Eames; Eames house. Twentieth-century house: Frank Lloyd Wright, Fallingwater; Alvar Aalto, Villa Mairea; Charles and Ray Eames, Eames house Venturi, R. (1977). Complexity and contradiction in architecture. New York: The Museum of Modern Art. Venturi, R. (1982). Diversity, relevance and representation in historicism, or plus ca change…. Architectural Record, (June), 114-119. Webb, M. (1999). Charles and Ray Eames: Leaving nothing to chance. Graphis, 55(Mar./Apr.), 102-107.

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