| Learning from Las Vegas - Revised Edition: The Forgotten Symbolism of Architectural Form | 
 enlarge | Authors: Robert Venturi, Steven Izenour, Denise Scott Brown
Publisher: The MIT Press
Category: Book
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Avg. Customer Rating:  6 reviews
Sales Rank: 208917
Media: Paperback
Edition: Revised
Number Of Items: 1
Pages: 193
Shipping Weight (lbs): 0.7
Dimensions (in): 8.8 x 5.9 x 0.5
ISBN: 026272006X
Dewey Decimal Number: 720.979313
EAN: 9780262720069
ASIN: 026272006X
Publication Date: June 15, 1977
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Product Description
"Their insight and analysis, reasoned back through the history of style and symbolism and forward to the recognition of a new kind of building that responds directly to speed, mobility, the superhighway and changing life styles, is the kind of art history and theory that is rarely produced. The rapid evolution of modern architecture from Le Corbusier to Brazil to Miami to the roadside motel in a brief 40-year span, with all the behavioral esthetics involved, is something neither architect nor historian has deigned to notice...." -- Ada Louise Huxtable, The New York TImes 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 architectureal 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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| Customer Reviews: Read 1 more reviews...
 I just don't know..... April 11, 2008
7 out of 7 found this review helpful
I admire and respect Robert Venturi and Denise Scott Brown for their great career and contribution to architecture, which has yet to be fully assessed. The depth of their thinking, the vigilant efforts to achieve their aesthetic vision, their desire to overcome modernist dogma, which had mutated into marginalized elite uncivic abstraction, falsely denying vibrant areas of life...how can one argue with the importance and value of such work?
Let me try.
To me, this book represents one of the most interesting turning points of an architectural career, very similar to Rem Koolhaas' essay on Bigness in S,M,L,XL.
Both texts are attempting to give themselves an elite artist's alibi for co-opting the corporate machinery's unself-conscious production. Here, both artists (VRSB and OMA)attempt to escape into pop art, just like their friend Andy Warhol, thumbing his nose at the self important abstract expressionists.
There's just one problem with this; they are architects, not just artists.
And this places them in significantly different political territory. Architects build in the public sphere, and therefore have a powerful civic impact. They enable some political forces, and, by physical default, suppress others. If they were artists, their voice is a singular one, an unsponsored comment, to be entertained or dismissed. Architecture cannot be waved away.
So, being architects, is 'Learning from Las Vegas' and 'Bigness' an elite artist's manifesto, or a cynical architect's effort to solicit clients from the bloated and most lucrative areas of commerce? The ambiguity is disturbing, because ultimately it has proven out not to matter what their intention. Both Venturi and Rem Koolhaas have been most useful tools for the most egregious excesses of our runaway imperial corporate world.
And this is a sad legacy for two brilliant architectural careers. No matter what their aesthetic accomplishments in the way of rarified architectural thought, the more brutal reality is that architects seeking fame cannot also speak truth to power. This gravely undermines their civic responsibilities.
I am reminded of William Morris' quote, a sad retrospective look at his career, saying that ultimately, his work "only served the swinish luxuries of the rich." A bitter realization for a socialist, one who chose to retreat into archaic craft, instead of trendy pop.
Pop architecture is not a game. It is an insidious symptom of the polarization of wealth, a symptom that Venturi and Koolhaas cheerfully enable, both with their particular form of dissociating irony. They can play with it as a theory, but it has wrought disastrous consequences in the physical and political landscape. Same thing happened to Frank Gehry, another symptomatic starchitectural monster, who apparently doesn't need to theorize. Hard to say when the deal went down exactly. I just don't know.
 as an argument of theory... March 2, 2007
1 out of 2 found this review helpful
this book is extremely condensed into a multitude of thumbnails or panoramas and text that never fails to reiterate its point. i mean, these two architects really understand the idea of symbols, suggestions, and sheds but after a dozen pages on one idea, you already get the point.
the images are really helpful in exemplifying the amount of criticism for or against the city ("idea") of las vegas.
 An Architectural Nightmare January 17, 2004
22 out of 30 found this review helpful
This is a quite unusual and offbeat treatise on architectural theory, as applied to the world's greatest architectural monstrosity - Las Vegas. This analysis from the early 1970s is obviously outdated because Las Vegas hadn't yet become the monument to megalomania and excess that it is today, but it was already well on its way. The authors analyze Vegas' unique usages of space, lighting, placement, transportation, and building design for the purposes of communication and promotion. Strange chapter titles give a clue to the left-field analysis in store, and the authors have a clear sense of irony, underhandedly implying that Vegas presents the worst in architecture while they appear to be praising its uniqueness. Unfortunately the narrative gets bogged down in dense professor-speak terminology like "Brazilianoid" and "neo-Constructivist megastructures," along with a general overload of obtuse theory. Add to that the poor-quality and under-elaborated illustrations and you have a book that sacrifices insight and readability in favor of pedantic attempts to impress the authors' colleagues. [~doomsdayer520~]
Read this book to learn what you shouldn't do as an architec July 10, 2001
17 out of 55 found this review helpful
Read this book to learn what you shouldn't do as an architect!This book follows Venturi's "Complexity and Contradiction", where you can learn how cynically to use casement windows in housing for the elderly where the elderly will happily put their plastic flowers in the windows, but *you* secretly know these are not really hormal casement windows, since they are out of scale (like fascist architecture's lack of scale?). This book will tell you about ducks and decorated sheds, but it will tell you nothing about building spaces which nourish creative human community. Try Louis Kahn (e.g., John Lobell's lovely little book "Between Silence and Light"). My postmodernist teachers at Harvard said Kahn's writings were incomprehensible, which says more about them than about him. Read Lobell's book and learn why, e.g., a city might deserve to exist. Remember: Only *you* can get beyond postmodernism!
 Brilliant study of signage and architecture September 10, 1999
29 out of 32 found this review helpful
Robert Venturi's study of the Las Vegas signage phenomena and it's impact on "architecture" is brilliant in it's scope. While written almost twenty five years ago, this book gains more and more pertinence as we as a society progress further into a "reality" of symbols, reproductions and representations. These words and thoughts are basically essential to the understanding of any city anymore, not just Las Vegas. Where this book misses the mark though is in the execution, as shown in Venturi's work, of these ideas. The projects put forth seem to pale in comparison to the implications the text actually has. These notions of architecture are by far some of the most relevant and important in modern theory today, it is unfortunate that their full potential could not be realized in these projects.... but maybe that is for you and I to do.
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