Book review on
Learning from Las Vegas:
The Forgotten Symbolism of Architectural Form
By Robert Venturi Denise Scott Brown and Steven Izenour
ISBN 0-262-72006
The MIT Press
The modern movement in architecture overthrew the Beaux-Arts st
Architecture in that big history background was heavily influenced by the industrial world that was when the proletarian functionalism and bourgeoisie "ornamentalism" collided the working class couldn't afford all those flamboyant ornaments it was seen as a bad taste in the reformists’ eyes the political correctness at that time was to abandon all the ornaments because it was not readable by working class through that modern architects revolutionized the whole vocabulary of architecture to be more suitable and approachable by common people.
Le Corbusier expressed an admiration of American engineers for their scientific and exact calculated designs advocated the idea of combining architecture with industrial machines[1] thus the machine for living. His idea of Ville Radieuse is the utopian communism idea in the architectural context.
The sympathy towards the working class created modern architecture and urban planning it is economic firm and "delightful" as most modern architects see it.
However Venturi saw the modern architects trying to twist that definition into "economicness and firmness IS delight".[2]
Modernists refuse and condemn any symbols in the architecture let alone any signs. It is clean and geometrically straightforward.
Venturi challenged the modernist thinking that symbol (ornament) is crime; he reckoned it was more symbolic than functional it was symbolically functional. It represented function more than resulted from function. It looked functional more than worked functionally.
The art in architecture was to come from the ex
Architecture is complex and contradictory when modernists eschewed formal classical vocabularies and applied their own language to the complex and unpredictable reality they became subject to the dangers of unconscious formalism. They twisted the whole building into one big ornament by articulation of structural exhibitionism and spatial ex
What Venturi found in Las Vegas is a way to save our architects from the deterioration sterility and by all means a dead end of modern architecture to inject new blood to our architects’ bodies. What he suggested is to look at the commercial vernacular the folk art especially in the Las Vegas strip the Route 66 with its huge signs in the same manner those early modern architecture explorers did to the industrial vernacular.
The book I have is the revised second edition of Learning from Las Vegas with an added subti
The whole strip is built ba
The symbols and signals function more than buildings in this context Venturi promoted the idea that the signal IN the design of a building is surpassed by signal simply ON a building.[5]
The existence of architecture is to convey information it should carry a hell lot of information: like Gothic cathedrals using their large stained glass as an effective propaganda tool let people visualize the stories in Bible etc; the frescos in palaces and manors often tell the story of gods they were ancient comic books; the pediments in classical world often showed the people’s understanding of gods; the same thing happened to traditional Chinese architecture as the whole structure is in timber they have the space beneath trusses and between columns filled with beautifully carved wood often have folk stories on it.
Thus architecture became the place of narrative. Venturi argued that it was better using old cliché to convey or express new meanings rather than inventing something which nobody understood even the creator him/herself. Good rather than original. It is a point which some of the later post-modernist deliberately misinterpreted. Learn from Las Vegas learn from Rome became take anything from Rome without understanding of its very own context. The core of his theory to my understanding is that post-modernism should not be a fixed st
It is rather a spirit of ongoing innovation it corresponded with Le Corbusier’s statement that architecture has no relationships with st
History is not linear it is spiral in a sense[7]. When it stops moving forward people will push it when it goes a step too far we need to stop look backward and think. The conflicts between exuberance and sobriety will not end but the aim that architecture is for people remains constant and the spirit of innovation shall pass from generation to generation.
Bibliography
Vers Une Architecture Le Corbusier
Functionalism Yes But Robert Venturi and Denise Scott Brown
Lecture by Venturi in Tsinghua University China 2000
Macro-history Renyu Huang
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[1] P28 Vers Une Architecture Le Corbusier
[2] Functionalism Yes But Robert Venturi and Denise Scott Brown
[3] Functionalism Yes But Robert Venturi and Denise Scott Brown
[4] Functionalism Yes But Robert Venturi and Denise Scott Brown
[5] Lecture by Venturi in Tsinghua University 2000
[6] Vers Une Architecture Le Corbusier
[7] Macro-history Renyu Huang
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