Learning From Las Vegas : The Forgotten Symbolism of Architectural Form
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Description
Learning from Las Vegas created a healthy controversy on its appearance in 1972, calling for architects to be more receptive to the tastes and values of "common" people and less immodest in their erections of "heroic," self-aggrandizing monuments.
This revision includes the full texts of Part I of the original, on the Las Vegas strip, and Part II, "Ugly and Ordinary Architecture, or the Decorated Shed," a generalization from the findings of the first part on symbolism in architecture and the iconography of urban sprawl. (The final part of the first edition, on the architectural work of the firm Venturi and Rauch, is not included in the revision.) The new paperback edition has a smaller format, fewer pictures, and a considerably lower price than the original. There are an added preface by Scott Brown and a bibliography of writings by the members of Venturi and Rauch and about the firm's work.
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This revision includes the full texts of Part I of the original, on the Las Vegas strip, and Part II, "Ugly and Ordinary Architecture, or the Decorated Shed," a generalization from the findings of the first part on symbolism in architecture and the iconography of urban sprawl. (The final part of the first edition, on the architectural work of the firm Venturi and Rauch, is not included in the revision.) The new paperback edition has a smaller format, fewer pictures, and a considerably lower price than the original. There are an added preface by Scott Brown and a bibliography of writings by the members of Venturi and Rauch and about the firm's work.
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Product details
- Paperback | 208 pages
- 152 x 229 x 11mm | 340g
- 05 Oct 2005
- MIT Press Ltd
- MIT Press
- Cambridge, Mass., United States
- English
- Revised
- revised edition
- 180 color illus., 358 b&w illus.; 538 Illustrations, unspecified
- 026272006X
- 9780262720069
- 11,899
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Back cover copy
Learning From Las Vegas created a healthy controversy on its appearance in 1972, calling for architects to be more receptive to the tastes and values of 'common' people and less immodest in their erections of 'heroic, ' self-aggrandizing monuments. This revision includes the full texts of Part I of the original, on the Las Vegas Strip, and Part II, ' Ugly and Ordinary Architecture, or the Decorated Shed, ' a generalization from the finding of the first part on symbolism in architecture and the iconography of urban sprawl.
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Review quote
...these studies are brilliant...the kind of art history and theory that is rarely produced.
-Ada Louis Huxtable, The New York Times ...professionally informed, competitively astute, and perversely brilliant...
-The Yale Review ...a brilliant document of the times...a work which uses history knowledgeably, skillfully, and creatively: a rarity.
-Journal of the Society of Architectural Historians
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-Ada Louis Huxtable, The New York Times ...professionally informed, competitively astute, and perversely brilliant...
-The Yale Review ...a brilliant document of the times...a work which uses history knowledgeably, skillfully, and creatively: a rarity.
-Journal of the Society of Architectural Historians
show more
About Robert Venturi
Robert Venturi is an award-winning architect and an influential writer, teacher, artist, and designer. His work includes includes the Sainsbury Wing of London's National Galler; renovation of the Museum of Contemporary Art, San Diego; dozens of major academic projects; and the groundbreaking Vanna Venturi House. Denise Scott Brown is an architect, writer, and planner. She and Robert Venturi are founding principals of the influential architectural firm Venturi, Scott Brown, and Associates (VSBA), whose work and ideas have influenced generations of architects and planners. Steven Izenour (1940-2001) was coauthor of Learning from Las Vegas (MIT Press, 1977) and a principal in the Philadelphia firm Venturi, Scott Brown and Associates, Inc (VSBA). His most noted projects at VSBA include Philadelphia's Basco showroom, the George D. Widener Memorial Treehouse at the Philadelphia Zoo, the Camden Children's Garden, and the house he designed for his parents in Stony Creek, Connecticut.
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