APRENDIENDO DE LAS VEGAS ROBERT VENTURI PDF

Learning from Las Vegas is a book by Robert Venturi, Denise Scott Brown, and Steven “What We Learned” originated at the Museum im Bellpark [de] ( Kriens, Switzerland) and had been exhibited at the Deutsches Architekturmuseum in. Learning from Las Vegas has ratings and 51 reviews. Al contrario que Loos, Robert Venturi resalta la importancia de un edificio que comunica un. Aprendiendo de Las Vegas: el simbolismo olvidado de la forma arquitectónica: : Steven Izenour, Denisse Scott Brown, Robert Venturi, Justo.

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Learning from Las Vegas: Editorial Reviews – Learning from Las Vegas From the Publisher Learning from Las Vegas created a healthy controversy on its appearance incalling 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, Editorial Reviews – Learning from Las Vegas From the Publisher Learning from Las Vegas created a healthy controversy on its appearance incalling 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.

Learning from Las Vegas: The Forgotten Symbolism of Architectural Form by Robert Venturi

Synopsis Learning from Las Vegas created a healthy controversy on its appearance incalling 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. Biography Steven Izenour PaperbackRevisedpages. United States of America.

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Nov 06, Jimmy rated it really liked it Shelves: Venturi has undoubtedly become the black sheep of late twentieth-century architecture. This book is part of the reason why. It’s a rather bold, almost crass statement about the askew focus of Modern architecture. He compares Rome to Las Vegas, not to mention the fact that he introduced postmodern irony into architectural perspectives, which the classicists and the moderns probably weren’t too thrilled about. His symbolical relativism more or less diminishes every formal masterpiece ever construc Venturi has undoubtedly become the black sheep of late twentieth-century architecture.

His symbolical relativism more or less diminishes every formal masterpiece ever constructed, and he praises Las Vegas for being the ideal architectural environment for efficiently accommodating urban automobile culture. Social concern, in the context of city planning is completely absent from this text. In a way, Venturi’s text is written by that of a complete postmodern provocateur, single-handedly justifying ugliness in architecture “after modernism”. Billboards, or those big flashy neon signs that sin city is so well known for function as symbolic representations of what a particular building or structure is trying to say.

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Ugliness is efficient here because it represents the point of the value of the building; what it does, what is sold within, what people go to this building for. Venturi calls for the ordinary over the beautiful in approaches to a new architecture because he feels that the time period calls for it.

He expresses it somewhat well in the following passage. Because this is not the time and ours is not the environment for heroic communication through pure architecture. Each medium has its day, and the rhetorical environmental statements of our time-civic, commercial,or residential-will come from media more purely symbolic, perhaps less static and more adaptable to the scale of our environment. The iconography and mixed media of roadside commercial architecture will point the way, if we will look.

I suppose that eyesores are eyesores for a reason. Venturi’s text is certainly influential, even if it is dated. Frederic Jameson, a thinker bound to confuse readers about what Venturi was actually trying to say more than anyone else, was enormously influenced by him.

We can also see in this sort of reasoning that attempt to bridge the gap between high and low art that has become so typical of the postmodern sensibility. The specter of Adorno certainly lingers. But maybe Venturi was onto something a little more useful than his postmodern contemporaries, something a little more important than a bunch of neo-marxist theorizing and empty talk about cultural hegemony.

It seems to me that he was merely attempting to show people how to reevaluate ugliness with a sympathetic eye.

This book is full of suggestions, and to me the most important when in an architectural sense was to see the metaphorical or symbolical value of these structures and their usefulness.

The book’s ideas are unquestionably dated, but its relevance and revolutionary value should not be taken for granted. View all 7 comments. Jul 05, Em “Reacher” rated aprendiendp really liked it Shelves: Don’t be surprised if Jack Reacher suddenly shows up at the goodreads.

Consider this a firm premonition. Feb 10, Erik Carter rated it it was amazing. Essential book 4 dezigners. Not sure if I like it more than “Complexity and Contradiction” but it’s still pretty great. Jun 07, Claudia rated it did not like it Shelves: And some of my disappointment may come from familiarity with many of the authors’ basic arguments–they’re not new to me, which apeendiendo really this book’s fault then again, I did not ha I was disappointed.

And some of my disappointment may come lzs familiarity with many of the authors’ basic arguments–they’re not new to me, which isn’t really this book’s fault then again, I did not have that reaction when I recently read Jane Jacobs’ The Death and Life of Great American Citiesand I’m well acquainted rlbert her ideas.

But really, much of this just seemed boring and superficial.

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Indeed, I showed an illustration to my husband, and when he read the paragraph he said, “Well, that’s really stating the obvious, isn’t it? Jun 22, Michelle Llewellyn rated it liked it.

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Had to read this for my Theories of Popular Culture class for English. The best thing about this book are the old photos of the now “Old” Las Vegas Strip. I especially enjoyed comparing the aerial photos of the Strip to modern day Google Map and Wiki images. Venturi’s duck and decorated shed were also fun to learn about and our teacher encouraged us to examine our own city for vegaas architectural theory.

I learned a lot. Jul 02, Melissa rated it it was amazing.

I still think about this one all the time, years later. Nov 05, Fred rated it liked it. Mar 24, Anima rated it it was amazing. A book that beautifully presents Las Vegas’ tangible architectural elements and gives us insightful views of the overall display of rigid shapes ranging from an outward to an inward perspective. The poetry does not matter’ But both are enclosed: The former has no windows, and the latter is open only to the sky.

The combination of darkness and enclosure of the gambling room and its subspaces makes for privacy, protection, concentration, and control. The intricate maze under the low ceiling never connects with outside light or outside space.

This disorients the occupant in space and time. One loses track of where one is and when it is. Time is limitless, because the light of noon and midnight are exactly the same. Space is limitless, because the artificial light obscures rather than defines its boundaries Fig. Light is not used to define space. Space is enclosed but limitless, because its edges are dark. The lighting is antiarchitectural.

Illuminated baldacchini, more than in all Rome, hover over tables in the limitless shadowy restaurant at the Sahara Hotel” Nov 22, Adam Coenraads rated it liked it Shelves: The concept of “the duck, and the decorated shed” are fundamental yet quite interesting. The illustrations and tables are very 60s polsci though and gave me plenty of flashbacks. Post Modernist approach to symbols Oct 23, Annamaria rated it it was amazing. Feb 17, Josh rated it it was ok.

Outdated by today’s standards, too academic and unenlightening to be worth the read. Historically significant I was told. Jul 26, Vadim Ermakov rated it did not like it. Mar 12, Robert Ullrich rated it really liked it. While stating the obvious, Venturi captivates the post modern mentality.

A world shaped by what we worship is a world that we will inhabit gleefully.

Learning from Las Vegas: The Forgotten Symbolism of Architectural Form

Capitalism and comfort born as sign posts and ducks, I willingly will step foot into Las Vegas with a new appreciation for the tackiness of Caesars. Sep 17, Meg rated it it was amazing Shelves: Between the two drawings of the Dunes cross-section and an illustration of the “vulgarity” of the Tropicana sign, Venturi has drawn a large NO inside a circle with arrows pointing to both drawings.

On that same page, he has drawn YES robsrt a heart next to his bracketed suggestions for Strip Beautification.