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These seventeen essays span thirty-two years in the careers of Robert Venturi and Denise Scott Brown. In these careers one can see the inextricable blending of the building of buildings and the building of words. They "look, analyze, synthesize through writing, synthesize through design, then look again." Robert Venturi's Complexity and Contradiction in Architecture, published in 1966, has been acknowledged as the most important thinking and writing on architecture since Le Corbusier. It provided a theoretical base for architects to transform architectural design from Modern to contemporary. A leading exponent of the Postmodern, the firm of Venturi, Rauch and Scott Brown has been in the forefront of new approaches in architecture and design, combining traditional with modern. And their writing has been viewed as "brilliant and liberating." Paul Goldberger, in The New York Times, says of Robert Venturi and Denise Scott Brown: "They merge a kind of childlike delight with an adult's ironic sensibility, bringing to architecture an attitude not altogether different from that which Lewis Carroll brought to literature." -- from book cover.
Evaluates for the first time one of the foundational works in architecture criticism. Immediately on its publication in 1972, Learning from Las Vegas, by Robert Venturi, Denise Scott Brown, and Steven Izenour, was hailed as a transformative work in the history and theory of architecture, liberating those in architecture who were trying to find a way out of the straitjacket of architectural orthodoxies. Resonating far beyond the professional and institutional boundaries of the field, the book contributed to a thorough rethinking of modernism and was subsequently taken up as an early manifestation and progenitor of postmodernism.
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The Cultural History of the Avant-Garde in the Nordic Countries Since 1975 brings the series of cultural histories of the avant-garde in the Nordic countries up to the present. It discusses revisions and continuations of historical practices since 1975.
This book stems from the seminal work of Robert Venturi and aims at re-projecting it in the current cultural debate by extending it to the scale of landscape and placing it in connection with representative issues. It brings out the transdisciplinary synthesis of a necessarily interdisciplinary approach to the theme, aimed at creating new models which are able to represent the complexity of a contradictory reality and to redefine the centrality of human dimension. As such, the volume gathers multiple experiences developed in different geographical areas, which come into connection with the role of representation. Composed of 43 chapters written by 81 authors from around the world, with an introduction by Jim Venturi and Cezar Nicolescu, the volume is divided into two parts, the first one more theoretical and the other one which showcases real-world applications, although there is never a total split between criticism and operational experimentation of research.
50 Jahre Learning from Las Vegas Von der Geschäftigkeit Johannesburgs bis zu den Neonlichtern von Las Vegas hat Denise Scott Browns Eintreten für „unordentliche Vitalität" („messy vitality") unsere Sicht auf die Stadtlandschaft verändert. Unkonventionell, eloquent und mit tiefgründigem gesellschaftspolitischem Engagement ist Scott Brown, für die Architektur und den Urbanismus, eine der einflussreichsten Denkerinnen unserer Zeit. Anlässlich des 50. Jubiläums von Learning from Las Vegas ist Denise Scott Brown. In Other Eyes ein Porträt aus der Perspektive führender Architekturhistoriker und Praktikerinnen. Es vermittelt neue Erkenntnisse zu ihrer Ausbildung auf drei Kontinenten, ihrem multidisziplinären Unterricht und ihrem Einbezug urbaner Kräfte im architektonischen Entwurf, den Scott Brown unter dem vieldeutigen Motto „1+1>2" darlegt. Alle Texte sind Originalbeiträge u.a. von Mary McLeod, Joan Ockman, Sylvia Lavin, Stanislaus von Moos, Jacques Herzog, Robin Middleton und Denise Scott Brown Porträt einer der bedeutendsten Persönlichkeiten der zeitgenössischen Architektur
Departing from a discussion on what it would be a mannerist attitude in the architecture of today, and theorizing around it, this book analyzes some works of contemporary European practices including Lutjens Padmanabhan, architekten de vylder vinck taillieu, TEd’A, Maio, 6a architects and AOffice KGDVS. Art critics between the seventeenth and nineteenth centuries imprinted a long-standing derogatory meaning to the word “mannerism”. Even though scholars such as John Shearman or Wolfgang Lotz rehabilitated the term to a certain degree during the twentieth century, it is still uncommon nowadays to find the expression “mannerist” used without certain pejorative connotations. This book provides a contemporary revision of the mannerist attitude for the present, creating a framework to analyze and shed light not only on the work that these practices are carrying out, but also on the less evident filiations and affinities, as well as on their deeper implications.
A collection of 27 original essays, some formal and some personal, document the history of Italian American culture for general readers and for teachers of multicultural studies. They investigate Italian-American identity and contributions to American culture through accounts of everyday life, fiction, films, poetry, music, customs, traditions, social mores, religion, and other features. Among the contributors are an anthropologist, a playwright, several poets and novelists, a singer, an opera critic, and several literary critics and cultural historians. The chronology begins of course with 1492; the lexicon does not indicate pronunciation. Double spaced. Annotation copyrighted by Book News, Inc., Portland, OR
Eschewing the limiting idea that nineteenth-century architecture photography merely reflects functionality, the objective of this collection is to reflect the aesthetic, intellectual, and cultural concerns of the time. The essays hold appeal for social and cultural historians, as well as those with an interest in the fields of art history, urban geography, history of travel and tourism. Nineteenth-century photographers captured what could be seen and what they wanted to be seen. Their images informed of exploration, progress, heritage, and destruction. Architecture was a staple subject for the first generation of photographers as it patiently tolerated the long exposures of the early processes. During its formative decades photography responded to evolutionary cultural forces of market and artistic production. Photographs of architecture reflected a specific political or social context modulated through individual points of view. For this reason, the examination of each photographic image as a primary visual document and an aesthetic object rather than a technical milestone on a chronological trajectory affords a richer multi-faceted approach to the extensive and complex corpus of photographs taken by photographers all over the world. This project acknowledges the importance of technique in the early decades of photography but focuses on the thematic content of the material. It places the photography of architecture in an international context under the contemporary critical lens sharpened by theoretical and cultural examinations of the topic.