Contradiction adapted ends in a whole which is perhaps impure. Contradiction juxtaposed ends in a whole which is perhaps unresolved.
These types of contradiction occur in the work of Le Corbusier. Contrasts in the plans of the Villa Savoye and the Assembly Building in Chandigarh correspond to those in the elevations of the Villa Pignatelli and the Villa Palomba. In the Villa Savoye the positions of some of the columns in the rectangular bay system adjust slightly to accommodate to particular spatial needs--one column is moved and another removed. In the Assembly Building although the grid of columns also adjusts to the exceptional plastic form of the assembly hall, in the juxtaposition of the hall itself and the grid, they do not adapt--the juxtaposition is violent and uncompromising not only in plan but also in sections, where it appears to have been thrust violently into the grid.
Robert Venturi, Complexity and Contradiction in Architecture (1966), p. 54.
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Kahn has said: "It is the role of design to adjust to the circumstantial." The interior rectangles of Palladio's palace plans are frequently distorted into nonrectangular configurations in order to adjust to the Vicenza street patterns. The resultant tensions give a vitality to the buildings not apparent in their ideal counterparts illustrated in the Quattro Libri.
Robert Venturi, Complexity and Contradiction in Architecture (1966), p. 54.
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In the Palazzo Massimo a curving rather than an angular distortion accommodated the facade to the street, which also curved before it was changed in the nineteenth century.
Robert Venturi, Complexity and Contradiction in Architecture (1966), p. 54.
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