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Michelucci's church of the Autostrada, like the Church of the Holy Sepulchre in Jerusalem, consists of almost equal combinations of contrasting directions and rhythms in columns, piers, walls, and roofs. A similar composition is that of the Berlin Philharmonic Hall.
Robert Venturi, Complexity and Contradiction in Architecture (1966), pp. 100-1.

The plastic forms of indigenous Mediterranean architecture are simple in texture, but rectangles, diagonals, and segments are blatantly combined. Gaudi's dressing table in the Casa Güell represents an orgy of contrasting dualities of form: extreme inflection and continuity are combined with violent adjacencies and discontinuities, complex and simple curves, rectangles and diagonals, contrasting materials, symmetry and asymmetry, in order to accommodate a multiplicity of functions in one whole.
Robert Venturi, Complexity and Contradiction in Architecture (1966), p. 101.

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