Venturi confronts modern architecture and its attempt to rundown tradition in defense of self-asserted sophistication. He advocates for adaptationof dichotomy and intricacy of architecture; its components and theirconfigurations provide.
He believes the primitive and clean slate tendency of modernarchitecture takes away this by making architecture as an ‘either /or’exercise, rather than the ‘Both-and’ approach which post-modernism accommodates.The ‘Both-and’ approach is open ended and accommodates hierarchies, contradictionsand complexities, allowing multiple meanings and interpretations. Barthes through his influential text ‘Death of an author’ makesus rethink authorship and the relationship between the author, the reader andthe medium.
He breaks the traditional commotion of author being the owner ofhis work; and he implies that the writing (or any creative outcome), which canbe interpreted by any person/reader, ceases to be the property of the author.Rather, the authorship is conceded to the interpretation made by the reader. Hebases his argument on the notion- everything in existence is a derivative ofthe shared knowledge and pre-existing elements; like the author writing hisbook in ‘already existing words’, which allows enables it to be interpreted byany other person, and have nonsingular meanings based on their own beliefsystems.
Foucault, like Barthes, wants us to re-evaluate the notionof authorship, but not from the outside, but from the inside. He questions theidentity and existence of the author- which is through his work(text), whichwould only have meaning if the individual would read it, making them theauthor. Both, Foucault and Barnes contradict the traditional relationship betweentext and death, where the author is immortalized through his work; rather allowingtext to kill its author. All the authors, Venturi, Barthes and Foucault acknowledgethe existence of pre-existing shared knowledge system; and advocate for theco-existence of several interpretations and meanings generated of the same creation.