Unweaving narrative fabric: Bruno Taut, Walter Benjamin, and Paul Scheerbart's The Gray Cloth

Journal of Architectural Education

Volumn 53, Issue 2, 1999, Pages 61-73

  Stuart, John A ^a  

^a FLORIDA INTERNATIONAL UNIVERSITY   (United States)

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[No Author keywords available]

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EID: 61049087077     PISSN: 10464883     EISSN: None     Source Type: Journal    
DOI: 10.1162/104648899564439     Document Type: Review

References (115)

1. Hayden White relates the origins of literary discourse to myth and separates literature from historical discourse "by virtue of its subject matter ('real' rather than 'imaginary' events)." Hayden White, The Content of the Form. Narrative Discourse and Historical Representation (Baltimore and London: Johns Hopkins University Press, 1987)
2. First published in 1758, Bastides's novella is considered by Anthony Vidler to be "among the first attempts at modern architectural criticism." Jean-Francois Bastides, The Little House: An Architectural Seduction, Rodolphe el-Khoury, trans. and ed. (New York: Princeton Architectural Press, 1995), p. 9
3. William Morris, New from Nowhere; or, An Epoch of Rest. Being Some Chapters from a Utopian Romance (Boston: Roberts Brothers, 1890)
4. Bernard Shaw, Major Barbara: In Three Acts (London: A. Constable, 1909)
5. Ayn Rand, The Fountainhead (Indianapolis: Charter Books, 1943)
6. Umberto Eco, The Name of the Rose (San Diego: Harcourt Brace Jovanovich, 1983)
7. For what little information there is on Scheerbart's early education, see Mechthild Rausch, Von Danzig ins Weltall. Paul Scheerbarts Anfangsjahre (1863-1895) [From Danzig into the Universe. Paul Scheerbart's Beginning Years (1863-1895)] (Munich: Edition Text + Kritik, 1997), pp. 52-57
8. This paternal reference to Scheerbart is found in Bruno Taut, "Glasarchitektur," in Die Glocke (1921): 1376 and also in Angelika Thiekötter et al., eds., Kristallisationen, Splitterungen. Bruno Tauts Glashaus [Crystallization, Fragmentation. Bruno Taut's Glass House] (Basel, Berlin, and Boston: Birkhäuser Verlag, 1993), p. 91
9. For the Crystal Chain Letters, see Iain Boyd Whyte, The Crystal Chain Letters. Architectural Fantasies by Bruno Taut and His Circle (Cambridge, MA, and London: MIT Press, 1985)
10. Paul Scheerbart, Lesabéndio. Ein Asteroiden-Roman [Lesabéndio. An Asteroid Novel] (Munich and Leipzig: Georg Müller Verlag, 1913)
11. Lesabéndio was reprinted in Paul Scheerbart, Dichterische Hauptwerke [Standard Poetic Work], Else Harke, ed. (Stuttgart: Henry Goverts Verlag, 1962)
12. Scheerbart's manifesto of glass was first published as Paul Scheerbart, Glasarchitektur [Glass Architecture] (Berlin: Verlag Der Sturm, 1914)
13. It was reprinted and translated in English as Glass Architecture, by Paul Scheerbart, and Alpine Architecture, by Bruno Taut, ed., Dennis Sharp, James Palmes and Shirley Palmer, trans. (New York and Washington: Praeger Publishers, 1972)
14. Iain Boyd Whyte considered The Gray Cloth to be Scheerbart's "most detailed account of the new glass architecture." Iain Boyd Whyte, Bruno Taut and the Architecture of Activism (Cambridge: Cambridge University Press, 1982), p. 32
15. The work was first published as Paul Scheerbart, Das graue Tuch und Zehn Prozent Weiss. Ein Damenroman [The Gray Cloth and Ten Percent White. A Ladies Novel] (München and Berlin: Georg Mueller Verlag, 1914)
16. It was reprinted as Paul Scheerbart, Das graue Tuch und Zehn Prozent Weiss. Ein Damenroman [The Gray Cloth and Ten Percent White. A Ladies Novel], Mechthild Rausch, ed. (München: Edition Text + Kritik, 1986)
17. Reyner Banham, "The Glass Paradise," The Architectural Review 125 (Feb. 1959): 87-89
18. This article was reprinted in Reyner Banham, A Critic Writes Essays by Reyner Banham, Mary Banham, ed. (Berkeley, Los Angeles, and London: University of California Press, 1996)
19. Scheerbart's work has most recently been championed by Mechthild Rausch, who, in addition to editing and providing an afterward to Scheerbart's The Gray Cloth, edited his letters in 70 Trillionen Weltgrüsse. Paul Scheerbart. Eine Biographie in Briefen 1889-1915 [70 Trillion World Greetings. Paul Scheerbart. A Biography in Letters 1889-1915], Mechthild Rausch, ed. (Berlin: Argon, 1991)
20. Most of Scheerbart's literary output appears in Paul Scheerbart, Gesammelte Werke [Collected Works], Thomas Bürk, Joachim Körber, and Uli Kohnle, eds., vols. 1-10.2 (Linkenheim: Edition Phantasia, 1986-1996)
21. Banham, A Critic Writes, p. 37
22. See Sigfried Giedion, Space, Time and Architecture; The Growth of a New Tradition (Cambridge, MA: Harvard University Press, 1941)
23. Banham, A Critic Writes, pp. 34, 38
24. Rosemary Haag Bletter, "Paul Scheerbart's Architectural Fantasies," Journal of the Society of Architectural Historians 34 (May 1975): 83-97
25. Bletter first presented this research in her unpublished dissertation "Bruno Taut and Paul Scheerbart's Vision - Utopian Aspects of German Expressionist Architecture" (Ph.D. diss., Columbia University, 1973)
26. See also Professor Bletter's excellent essay entitled "The Interpretation of the Glass Dream - Expressionist Architecture and the History of the Crystal Metaphor," Journal of the Society of Architectural Historians 40 (March 1981): 20-43
27. Bletter, "Paul Scheerbart's Architectural Fantasies," p. 86
28. Scheerbart believed in the transcendence of human spirits into otherworldly bodies such as planets, asteroids, and stars. Mechthild Rausch associates this point of view with the popularity of the works of the nineteenth-century philosopher Gustav Theodor Fechner, the founder of the study of pyschophysics. See Rausch's afterward in Das Graue Tuch [The Gray Cloth], p. 152
29. Other works by Scheerbart that exhibit his interest in asteroids and human transformations into heavenly bodies include: Paul Scheerbart, Na Prost! Phantastischer Königsroman [Cheers! Fantastical Kings Novel)] (Berlin: Schuster und Loeffler, 1898) in which the three protagonists turn into stars after a trip through the earth
30. Paul Scheerbart, Liwûna und Kaidôh. Ein Seelenroman [Liwûna und Kaidôh. A Souls Novel] (Leipzig: Insel, 1903) whose two principle characters provide their impressions of the universe as they fly through it
31. and Astrale Novelletten [Little Astral Novellas], (Karlsruhe and Leipzig: Dreililien-Verlag, 1912), which contains a series of twelve short stories several of which take place in the distant future and involve advanced forms of planet-like life
32. Founded in 1903, Georg Müller Verlag was considered to subscribe to "no stated literary current, but cultivated a retrospective tendency along side the modern." Helga Abret, Albert Langen Ein euopäischer Verleger [Albert Langen, A European Publisher] (Munich: Langen Müller, 1993), p. 145
33. Scheerbart was published by the Georg Müller Press relatively late in the writer's career. Müller picked up the second edition of Scheerbart's Astrale Novelletten [Little Astral Novellas]. Scheerbart publicly professed to have a "seemingly comfortable" relationship with Müller before he rejected Glass Architecture for publication. Paul Scheerbart, "Paul Scheerbart," Schriftsteller Verleger und Publikum. Eine Rundfage. Zehnjarhres Katalog [Writer, Publisher and Public. An Inquiry. Ten-year Catalogue] (Leipzig: Georg Müller, 1913), pp. 107-108
34. See Gershom Scholem and Theodor Adorno, eds., The Correspondence of Walter Benjamin, 1910-1940 (Chicago and London: The University of Chicago Press, 1994), p. 153, n. 2, p. 155, n. 2
35. While there have been many important discussions of this work, two outstanding publications of the Taut's Glass House and its context within the Cologne Exhibition have been Angelika Thiekötter, et al., eds., Der westdeutsche Impuls 1900-1914. Kunst und Umweltgestaltung im Industriegebiet: Die Deutsche Werkbund-Ausstellung Cöln 1914 [The West German Impulse 1900-1914. Art and the Environment of Production in the Field of Industry. The German Werkbund Exhibition. Cologne, 1914.] (Cologne: Kölnischer Kunstverein, 1984)
36. See especially Kristina Hartmann and Franziska Bollerey, "Das Glashaus von Bruno Taut," in Thiekötter, Der westdeutsche Impuls, p. 133
37. See also Angelika Thiekötter et al., eds., Kristallisationen, Splitterunge n. Bruno Tauts Glashaus [Chrystalization, Fragmentation. Bruno Taut's Glass House)] (Basel, Berlin, and Boston: Birkhäuser Verlag, 1993)
38. Paul Scheerbart, "Das Glashaus. Ein Vorbericht" [The Glass House. A Preliminary Report] Berliner Tageblatt und Handels Zeitung 537/42 (22 Oct. 1913): 2
39. While it is generally agreed that Taut and Scheerbart had contact in the context of Herwarth Walden's magazine Der Sturm, there is some discrepancy as far as exactly how and when the two men met. The first recorded letter of Scheerbart to Taut, dated December 24, 1913, already reveals that the two are good friends through the use of the familiar "Du." See Rausch, 70 Trillionen Weltgrüsse [70 Trillion World Greetings], p. 458
40. Dennis Sharp suggests that their relationship "goes back to the early days of ... Der Sturm." This indicates a date closer to 1910. Sharp, Glass Architecture, p. 10
41. Rosemary Bletter suggests that "Taut had met Scheerbart in the circles of Der Sturm around 1912." Bletter, "Paul Scheerbart's Architectural Fantasies," p. 96
42. Iain Boyd Whyte states that "at the same time (1912), he (Taut) was an intimate of Herwarth Walden's Sturm circle. Taut's first contact with Walden was made through the poet and fantasist Paul Scheerbart...." Whyte, Bruno Taut and the Architecture of Activism, p. 16
43. Paul Scheerbart. "Glashäuser. Bruno Tauts Glaspalast auf der Werkbund-Ausstellung in Cöln." [Glass Houses. Bruno Taut's Glass Palace at the Werkbund Exhibition in Cologne] Technische Monatshefte 4 (1914): 8, 106-107
44. In his letter to Richard Dehmel of January 9, 1914, Paul Scheerbart discusses his literary publisher, Georg Müller. Rausch, 70 Trillionen Weltgrüsse [70 Trillion World Greetings], p. 458
45. Benjamin stated: "Even in Scheerbart's 'glass architecture' (1914) it (the social conditions for the intensified use of glass architecture) appears in utopian contexts." Walter Benjamin, "Paris Capital of the Nineteenth Century," Reflections, Edmund Jephcott, trans. (New York: Schocken Books, 1978), p. 147
46. Reyner Banham, Theory and Design in the First Machine Age (London: The Architectural Press, 1960), p. 267
47. See Else Harke's "Nachwort," [afterward] to Scheerbart, Dichterische Hauptwerke (1962)
48. reprinted in Berni Lörwald and Michael M. Schardt, eds., Über Paul Scheerbart I [About Paul Scheerbart I] (Paderborn: Igel Verlag, 1992), pp. 32-33
49. Wolfgang Pehnt, "Paul Scheerbart, ein Dichter der Architekten" [Paul Scheerbart, an Architect's Poet], reprinted in Lörwald and Schardt, Über Paul Scheerbart I, p. 73
50. Also see Bletter, "Scheerbart's Architectural Fantasies," p. 84
51. Unlike Jules Verne, H. G. Wells, and others, Scheerbart did not imagine the technologies of the near future to differ significantly from those he experienced in his own time. Air travel and wireless telegraph technology, as well as construction with steel and glass were familiar during his lifetime. Scheerbart, however, pointed to new uses for these existing technologies. For a somewhat simplistic correlation between Scheerbart's and later inventions, see Karl-Heinz Knupp, Die Architekturphantasien Paul Scheerbarts: Ein Beitrag zum Verhältnis von literarischer Fiktion und Architektur [The Architectural Fantasies of Paul Scheerbart: A Contribution to the Relationship between Literary Fiction and Architecture] (Ph.D. diss., Universität Hamburg, 1980)
52. Page numbers in this essay refer specifically to Paul Scheerbart, Das graue Tuch und zehn Prozent Weiß. Ein Damenroman, 3rd ed. (Munich and Berlin: Georg Müller, 1914), p. 40
53. Scheerbart seemed eager to take the client out of the construction process. See his "grin and bear it" ideology also in chapter 107 of Paul Scheerbart, Glassarchitektur (1914), p. 121
54. Scheerbart, Das graue Tuch, p. 46
55. Scheerbart combined music and the landscape in many of his writings, including in such early work as Paul Scheerbart, Das Paradies. Die Heimat der Kunst [Paradise. The Home of the Art] (Berlin: Commissionsverlag Georg und Fiedler, 1889)
56. through his later writings including Scheerbart, Lesabéndio. (1913)
57. For a discussion of modernity and women's fashion, see Mary McLeod, "Undressing Architecture: Fashion, Gender, and Modernity," in Deborah Fausch et al., eds., Architecture: In Fashion (New York: Princeton Architectural Press, 1994), pp. 39-123
58. For early modern attacks on fashion by Adolf Loos and others, see Mark Wigley, White Walls, Designer Dresses: The Fashioning of Modern Architecture, (Cambridge, MA,: MIT Press, 1995), p. 128ff
59. Letter from Paul Scheerbart to Gottfried Heinersdorff dated July 11, 1913. Found in 70 Trillionen Weltgrüsse [70 Trillion World Greetings], p. 455
60. Rausch, Von Danzig ins Weltall [From Danzig into the Universe], p. 67
61. It should be noted that Scheerbart also contributed regularly to several journals including Die Gegenwart [The Present], Das Theater [The Theater], Die Aktion [The Action], and Der Sturm [The Storm], to name a few
62. See Peter Fritzsche, Reading Berlin 1900 (Cambridge, MA, and London: Harvard University Press, 1996), pp. 44, 106
63. Scheerbart wrote several works as a series of fragments. Perhaps the most notable of these are Ich Liebe Dich! Ein Eisenbahn-Roman mit 66 Intermezzos [I Love You! A Railroad Train Novel with 66 Intermezzos] (Berlin: Schuster und Loeffler, 1897)
64. Na Prost! Phantastischer Königsroman [Cheers! Fantastical Kings Novel] (Berlin: Schuster und Loeffler, 1898) with nineteen individual stories
65. and Immer mutig! Ein phantastischer Nilpferderoman [Always Daring! A Fanstastic Hippopotamus Novel.] (Minden, Germany: J.C.C. Bruns, 1903) with 83 stories
66. Paul Scheerbart, "Das Höhere: Eine Räubergeschichte von Paul Scheerbart" [The Higher Thing: A Robber Story by Paul Scheerbart], Hamburger Fremdenblatt, no. 241, October 14, 1911
67. Paul Scheerbart, "Tanzende Pflanzen - Tanzende Wälder. Amerikanische Sensationsgeschichte von Paul Scheerbart" [Dancing Plants - Dancing Forests. American Sensational Story by Paul Scheerbart], Hamburger Fremdenblatt (Sunday, 11.4.1911), p. 25. At the end of this story, Scheerbart reveals a peculiar misogynistic streak when the male narrator of the story attempts to make up a story to tell people and is chased out of town. His conclusion, oddly, is that only women can tell such tales and be believed
68. Paul Scheerbart, "Der Architekten-kongress. Eine Parlamentsgeschichte" [The Architects' Congress. A Parliament Story], Berliner Tageblatt (Beilage: Der Zeitgeist) January 6, 1913
69. This was reprinted in Bruno Taut, ed., Frühlicht. 1 (fall 1921) (Magdenburg, Germany: Karl Peters): 26-27
70. A. H. Kober, "Das graue Tuch und zehn Prozent Weiß. Ein Damenroman. Von Paul Scheerbart." [The Gray Cloth and Ten Percent White. A Ladies Novel. By Paul Scheerbart] (München and Berlin: Georg Müller, 1914), p. 246
71. in Das literarische Echo, 19/4 (1916/17), p. 247-248
72. Kober's later work seems to indicate a natural predilection toward Scheerbart'sodd combination of theosophist and journalist. See A. H. Kober, Geschicte der religiösen Dichtung in Deutschland: Ein Beitrag zur Entwicklungsgeschichte der deutsche Seele [History of Religious Writing in Germany: A Contribution to the Developmental History of the German Soul] (Essen: G. D. Baedeker, 1919)
73. and A. H. Kober, Die Seele des Journalisten; fünf Aufätze zur Psychology der Presse [The Soul of the Journalist; Five Essays on the Psychology of the Press] (Cologne: Rheinland-Verlag, 1920)
74. Kober, "Das graue Tuch," pp. 247-248
75. From Paul Scheerbart's "Autobiographisches" written on July 6, 1904 and reprinted in Kurt Lubasch and Alfred Richard Meyer, eds., Paul Scheerbart - Bibliographie mit einer Autobiographie des Dichters [Paul Scheerbart - Bibliography with an Autobiography of the Writer] (Berlin: Private Printing, 1930), p. 14
76. Scheerbart, "Das Glashaus. Ein Vorbericht" [The Glass House. A Preliminary Report], p. 2. I am deeply grateful to Laurie Stein, Curator of the Deutsche Werkbund Archiv for sleuthing out this article for me
77. See Scheerbart, "Glashäuser" [Glass Houses], pp. 105-07
78. I have to thank Mechthild Rausch for presenting me a Xerox copy of the critique. While its exact location has not yet been determined by this author, it seems to have appeared in the Berliner Tageblatt, probably in late October or November 1913
79. Jessa Laam, "Erwachen im Glashaus. Ein Zukunststraum" [Awakening in a Glass House. A Dream of the Future], Berliner Tageblatt - und Handels Zeitung Oct. or Nov. 1913
80. The article referred to by Laam is Scheerbart, "Das Glashaus. Ein Vorbericht." [The Glass House. A Preliminary Report]. Page number and exact date unknown
81. I thank Angelika Thiekötter, Director of the Werkbund Archiv in Berlin, for bringing this article to my attention. The as yet incomplete citation is Phillipp Berges, "Die gläserne Kulturwelt" [The Glazed World Culture], Hamburger Fremdenblatt (summer 1914)
82. See Philipp Berges, Bunte Bilder aus dem New York Leben [Colorful Pictures from New York Life] (Leipzig: Reclam, 1892)
83. Philipp Berges, Eine Reise um die Erde: in Skizzen [A Trip around the Earth: In Sketches] (Hamburg: Verlagsbuchhandel Broschekand Co., 1913)
84. and Philipp Berges, Rund um den Erdball: die letzte deutsche Weltreise vor dem Weltkriege [Around the Globe: The Last German World Trip before the World War] (Hamburg: J. L. Glogau, 1920)
85. Berges, "Die gläserne Kulturwelt" [The Glazed World Culture]
86. For the quotation see Scheerbart, Glasarchitektur [Glass Architecture], p. 31
87. See letter from Paul Scheerbart to Richard Dehmel dated Feb. 19, 1914 in Rausch, 70 Trillionen Weltgrüsse [70 Trillion World Greetings], p. 466
88. Adolf Behne, "Gedanken über Kunst und Zweck, dem Glashause Gewidmet" [Thoughts on Art and Function, Dedicated to the Glass House] Kunstgewerbeblatt 27/1 (Oct. 1915/16): 4
89. Adolf Behne, "Bruno Taut," Neue Blätter für Kunst und Dichtung. 2 (Apr. 1919-Mar. 1920): 14
90. Walter Gropius in a letter to Hermann Finsterlin dated April 17, 1919 quoted in Marcel Franciscono, Walter Gropius and the Creation of the Bauhaus in Weimar: The Ideas and Artistic Theories of Its Founding (Urbana, Chicago, and London: University of Illinois Press, 1971), p. 124, n. 93
91. Research in Behne's estate at the Bauhaus Archives in Berlin produced a postcard of the elevator shaft of the F. V. Grünfeld specialty store for linen products in Berlin to Behne dating from October 15, 1935, with a note to the effect of "a small fulfillment of a Scheerbartian dream" scrawled on the back
92. Adolf Behne, "Paul Scheerbart. Zur zehnten Wiederkehr seines Todestages 15.10.15; geboren am 8. Januar 1863 in Danzig" [Paul Scheerbart. On the Tenth Anniversary of his Death 15.10.15, Born on January 8, 1863 in Danzig], Ostdeutsche Monatshefte 6/2 (Oct. 1925), pp. 735-737
93. Walther Petry, ed., Humor der Nationen. Ausgewälte Prosa. Deutschland [Humor of Nations. Selected Prose. Germany] (Berlin: Wertbuchhandel, 1925), pp. 273-291
94. There is a great deal of literature on the influence of German Romantic irony. A helpful introduction toand translation of Schlegel's work can be found in Peter Firchow, ed. and trans., Friedrich Schlegel's "Lucinde" and the Fragments (Minneapolis: University of Minnesota Press, 1971)
95. One of the ways Schlegel attempted to describe irony was as "the mood that surveys everything and rises infinitely above all limitations, even above its own art and virtue." Firchow, Friedrich Schlegel's "Lucinde," p. 148
96. See also Ernst Behler, Irony and the Discourse of Modernity (Seattle and London: University of Washington Press, 1990)
97. and D. J. Enright, The Alluring Problem: An Essay on Irony (Oxford, New York: Oxford University Press, 1986)
98. Scheerbart, like others, used irony "to see themselves and at the same time to stand back from themselves, to be at once objective and subjective." Christopher Riley, Walter Kempowski's "Deutsche Chronik": A Study in Ironic Narration (Frankfurt am Main, Berlin, Bern, New York, Paris, and Vienna: Peter Lang, 1995), p. 18
99. For this quotation see Sharp, Glass Architecture and Alpine Architecture, p. 15
100. See Bruno Taut, "Glaserzeugung und Glasbau" [Glazing Generation and Glass Buildings], Qualität 1, no. 1/2 (Apr./May, 1920), p. 9
101. For Taut's introduction to Alpine Architecture, see Bruno Taut, "Vorwort des Herausgebers" [Editor's Forward], Alpine Architektur (Hagen: Folkwang, 1919)
102. reprinted in Manfred Speidel, ed., Bruno Taut. Natur und Fantasie 1880-1938 (Berlin: Ernst and Sohn, 1995), p. 165
103. For Taut's letter "VIVAT STELLA MDCCCCXX" [The Star Lives 1919], see ibid., p. 182
104. Taut inserted an ode by Paul Claudel in Bruno Taut, "Farbenwirkungen aus meiner Praxis" [Color Effects from my Practice], Das hohe Ufer 1, no. 11 (Nov. 1919): 267
105. Taut later related Scheerbart's ideas of glass architecture to the gothic, and referred to Paul Claudel as the poet with a visionary comprehension of the German middle ages. See Bruno Taut, "Das Bauen mit Glas" [Building with Glass], Qualität 2, no. 3/4 (June/July 1921): 35
106. Bruno Taut, Der Weltbaumeister [The Master World Builder] (Hagen: Folkwang, 1920)
107. Quotations taken from Taut, Der Weltbaumeister [The Master World Builder], pp. 24, 27
108. Bruno Taut continued to use Scheerbart as a utopian foil to his practical building program as late as 1927. He used the Scheerbartian aphorism once inscribed on the Glass House: "Glass brings us a new age / Brick culture only hurts us" in Bruno Taut, Ein Wohnhaus [A Dwelling] (Stuttgart: Franckhische Verlashandlung W. Keller & Co., 1927), p. 71
109. Walter Benjamin, Gesammelte Schriften II (I) [Collected Writings II (I)] (Frankfurt am Main: Suhrkamp, 1989), p. 215
110. Detlef Mertins, "The Enticing an Threatening Face of Prehistory: Walter Benjamin and the Utopia of Glass," Assemblage (Apr., 1996): 6-23. See page 12
111. Scholem and Adorno, The Correspondence of Walter Benjamin, p. 153, n. 2
112. Walter Benjamin letter to Gerhard Scholem, April 17, 1920. In Scholem and Adorno The Correspondence of Walter Benjamin, p. 162
113. For Benjamin's use of Scheerbart's narratives as a model for "what might emerge from a salutary liquidation of traditional culture," see John McCole, Walter Benjamin and the Antinomies of Tradition (Ithaca and London: Cornell University Press, 1993), p. 158
114. Walter Benjamin, "Paul Scheerbart: Lesabéndio," in Gesammelte Schriften (Frankfurt am Main: Suhrkamp Verlag, 1972), 2/2, pp. 618-620
115. Robert Venturi, Complexity and Contradiction in Architecture, 2nd ed. (New York: The Museum of Modern Art, 1977), p. 16