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L'affaire Learning from Las Vegas

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L'affaire Learning from Las Vegas Université Paris I – Panthéon-Sorbonne Ecole doctorale d’histoire de l’art – UFR03 Thèse de doctorat Discipline : Histoire de l’architecture contemporaine Présentée par Valéry Didelon L’affaire Learning from Las Vegas Productions et réceptions (1968-1988) Sous la direction de Mme Dominique Rouillard Professeure à l’Ecole nationale supérieure d’architecture de Paris-Malaquais Directrice d’études à l’Université Paris I Panthéon Sorbonne Soutenance Le 6 mars 2010 Jury Mr Claude Loupiac Mr Stanislaus von Moos Mme Dominique Rouillard Mr Georges Teyssot Remerciements à Dominique Rouillard, pour m’avoir amicalement accueilli en thèse et pour les précieux conseils qu’elle m’a prodigués tout au long de ces huit années. à Stanislaus von Moos, pour l’intérêt qu’il a d’emblée manifesté pour mon travail et pour ses encouragements répétés. à Claude Loupiac et Georges Teyssot, pour avoir accepté de juger ce travail. à Luc Boltanski, pour m’avoir donné le gout de la recherche et pour ses conseils avisés. à Pierre Chabard, pour avoir partagé réflexions et hypothèses avec moi depuis des années. à Marilena Kourniati, pour l’acuité de ses commentaires renouvelés sur mon travail. à Françoise Fromonot, pour m’avoir transmis le gout de l’écriture et de la critique. à Luc Baboulet, François Béguin, Emmanuel Caille, Alain Guiheux, Ghislain His, Sébastien Marot, Jean Taricat, Clément Orillard et à tous ceux qui ont à un moment où un autre au cours des dernières années stimulé ma curiosité. à mes parents et à ma soeur, pour leur soutien indéfectible. à mon épouse Jenny, pour sa patience, son enthousiasme et son aide sans lesquels je n’aurai pu mener à bien ce travail. 1 2 Sommaire Introduction……………………………………………………………………………...………….p.9 Première partie : 1968-1971……………………………………………………………..…...…….p.27 1.1 Contexte……………………………………………………………………….…..…….p.29 1.2 Learning from Las Vegas (1968) ………………………………………………....………p.49 1.3 Réception I…………………………………………………………………...…...…..…p.69 Deuxième partie : 1972-1976…………………………………………….……………..…......….p.101 2.1 Learning from Las Vegas (1972) )……………………………………….………....……p.103 2.2 Intertexte………………………………...………………………………….….………p.151 2.3 Réception II ………………………………………………………...…………………p.173 Troisième partie : 1977-1988……………………………………...…………….……….....….…p.219 3.1 Learning from Las Vegas (1977) …………………………….…………………….....….…p.221 3.2 Réception III ……………………………………………..………………………...…p.231 3.3 Architexte…………………...………………………..………………………...………p.259 Conclusion…………………………………………………………………………….……..……p.281 Annexe : Schéma synoptique de l’affaire Learning from Las Vegas (1968-1980) ………...…...…p.287 Bibliographie…………………………………………………………………………...…………p.289 Index des noms………………...…………………………………………...…………….………p.295 Liste des illustrations………………...…………………………………...………..…….………p.299 3 Sommaire détaillé Introduction……………………………………………………………………………………….p.9 De l’histoire de l’architecture à celle de ses livres ; Le postmodernisme et ses manifestes ; Learning from Las Vegas dans l’histoire de l’architecture ; Esthétique et sociologie de la réception ; La réception de Learning from Las Vegas par la critique ; 1968, 1972, 1977. Première partie : 1968-1971 1.1 Contexte…………………………………………………………………………..…….p.29 1.1.1 Deux architectes en marge……………………………………………………p.31 1.1.1.1 Robert Venturi……………………………………………………..p.35 1.1.1.2 Denise Scott Brown………………………………………………..p.37 1.1.2 The City that Never Sleeps…………………………………………………....p.40 1.1.2.1 Une oasis dans le désert……………………………………………p.40 1.1.2.2 Le Strip………………………………………………….…………p.42 1.1.2.3 Mythologie…………..……………………………………..………p.43 1.1.2.4 Tom Wolfe……………………………………………………....…p.45 1.1.2.5 Las Vegas et les architectes…………………………………………p.47 1.2 Learning from Las Vegas (1968) …………………………………………………...………p.49 1.2.1 A significance for A&P Parking Lots, or Learning from Las Vegas…………….……p.49 1.2.1.1 Un guide du vernaculaire commercial………………………………p.50 1.2.1.2 Apprendre de et faire avec l’existant………………………………..p.54 1.2.1.3 L’architecture comme communication………...……………………p.55 1.2.1.4 L’ordre complexe du Strip………………………………………….p.57 1.2.2 On Ducks and Decoration………………………………………………………..p.58 1.2.3 Learning from Las Vegas, or Form Analysis as Design Research………..….…………p.60 1.2.3.1 Une expérience pédagogique originale…………..…………………..p.60 1.2.3.2 Une grande première mondiale…………………………..………….p.64 1.2.3.3 Provocation……………………………….………………..……….p.66 1.3 Réception I……………………………………………………………………...……..…p.69 1.3.1 La première réception de Learning from Las Vegas (1968-1971)……..…….…..…p.71 1.3.2 Thèmes………………………………………………………...………………p.76 1.3.2.1 Signe et/ou espace………………………………….……......………p.76 1.3.2.2 Ordre et/ou chaos………………………………….….……………p.78 1.3.2.3 Revolution et/ou statu quo……………………………….…..………p.82 1.3.2.4 Utopie et/ou contre-utopie……………………………....…..………p.86 1.3.2.5 Élitisme et/ou populisme………………………………...………….p.88 1.3.2.6 Avant-garde et/ou arrière-garde…………………………….…….…p.92 1.3.2.7 Kitsch, Pop et/ou camp…………………………………..…………p.94 1.3.3 Divisions………………………………….……………………..…..…………p.97 4 Deuxième partie : 1972-1976 2.1 Learning from Las Vegas (1972)……………………………………………………....……p.103 2.1.1 Avant et autour du livre………………………………………….…...….……p.104 2.1.1.1 La fabrication de Learning from Las Vegas…………….…...…………p.104 2.1.1.2 Le volume………………………………………………….………p.107 2.1.1.3 Le titre…………………………………………………………..…p.108 2.1.1.4 Le péritexte………………………………………………...………p.110 2.1.1.5 Le texte………………………………………………….…………p.114 2.1.2 Une étude sur l’architecture du boulevard commercial……………..…………p.115 2.1.2.1 Avertissement……………………………………………...………p.117 2.1.2.2 L’architecture comme signe et comme symbole……………………p.118 2.1.2.3 Comparaison historique et analyse cartographique……….……..…..p.119 2.1.2.4 L’ordre complexe du Strip……………………………….…………p.120 2.1.2.5 Style and Sign……………………………………………….……….p.124 2.1.2.6 Apprendre de Las Vegas…………………….………………...……p.125 2.1.3 Une théorie sur le symbolisme en architecture……………………………...…p.126 2.1.3.1 Canard héroïque versus hangar ordinaire…………………….………p.128 2.1.3.2 Vers une architecture oubliée………………………………………p.130 2.1.3.3 Le modernisme en question…………………………………...……p.132 2.1.4 Un portfolio de l’agence Venturi&Rauch………………………………...……p.141 2.1.4.1 Réalisations, études et projets………………………………………p.142 2.1.4.2 Huit maisons de mauvaise réputation………………………………p.145 2.1.4.3 California City…………………………………………………...…p.145 2.1.5 Postface…………………………………………………………….…....……p.148 2.2 Intertexte…………………………………………………………………….….………p.151 2.2.1 Le contexte littéraire de Learning from Las Vegas………………………….……p.152 2.2.2 Éléments du contexte………………………………………...…………….…p.159 2.2.2.1 God’s Own Junkyard…………………………………………………p.159 2.2.2.2 The View from the Road………………………………………………p.162 2.2.2.3 Architecture without Architects…………………………………………p.164 2.2.2.4 Every Building on the Sunset Strip……………………………...………p.166 2.2.2.5 Meaning in Architecture…………………………………….…….....…p.167 2.2.2.6 The Architecture of the well-tempered environment………………….…...…p.169 2.3 Réception II ……………………………………………………………………………p.173 2.3.1 La seconde réception de Learning from Las Vegas (1972-1976) …………...……p.174 2.3.1.1 Par le grand public…………………………………………………p.177 2.3.1.2 Par le milieu universitaire……………………………………..….…p.179 2.3.1.3 Par les architectes……………………………………………..……p.182 2.3.1.4 Par les Européens……………………………………………..……p.183 2.3.2 Thèmes………………………………………………………………….……p.189 2.3.2.1 Le médium est-il le message ? …………………………….……..…p.189 2.3.2.2 La chasse au canard………………………………………….…..…p.191 2.3.2.3 Anti-modernes ? …………………………………………..….……p.193 2.3.2.4 L’architecte comme bouffon………………………………….……p.195 2.3.2.5 Le gout de l’ordinaire………………………………………………p.198 2.3.2.6 Du populisme à l’élitisme…………………………………..………p.204 2.3.2.7 Le manque d’engagement social……………………………….……p.206 2.3.3 La réception de la réception……………………………………………..……p.209 2.3.4 Une controverse dynamique……………………………………………..……p.214 5 Troisième partie : 1977-1988 3.1 Learning from Las Vegas (1977) ………………………………………………………..….…p.221 3.1.1 Vers un nouveau livre……………………………………….……….……..……p.221 3.1.2 Une révision à la baisse et à la hausse………………………….……………..……p.223 3.1.2.1 Les moins……………………………………………….…...………p.224 3.1.2.2 Les plus…………………………………………………….…..……p.225 3.2 Réception III……………………………………………..…………………………...…p.231 3.2.1 Dernière actualité (1977-1979) …………………………....……………..……p.232 3.2.1.1 Dans la presse quotidienne…………………………………...…….p.232 3.2.1.2 Dans les publications architecturales…………………………….…p.233 3.2.1.3 Dans les revues universitaires………………………………………p.237 3.2.2 Learning from Las Vegas entre dans l’histoire (1980-1988) ……………...………p.238 3.2.2.1 Histoires de l’architecture moderne………………………...………p.239 3.2.2.2 Histoires de l’architecture postmoderne……………………………p.241 3.2.3 Le postmodernisme des Venturi et de leur livre………………………………p.243 3.2.3.1 Le débat philosophique…………………………………………….p.244 3.2.3.2 La logique culturelle du capitalisme tardif………………..…………p.246 3.2.3.3 I’m not now and never have been a postmodernist…………………….……p.249 3.2.4 La classicisation de Learning from Las Vegas……………………………………p.255 3.3 Architexte……………………………………………..………………………...………p.259 3.3.1 Systèmes et théories des genres………………………………………….……p.259 3.3.1.1 Pragmatique des genres………………………………...……..……p.262 3.3.1.2 Littérature architecturale et genres…………………………………p.263 3.3.2 Le genre de Learning from Las Vegas…………………………...………………p.264 3.3.2.1 Guide, étude, théorie, portfolio ou traité ? …………………………p.265 3.3.2.2 Un manifeste……………………………………...…………..……p.270 3.3.2.3…rétroactif………………………………………………..…...……p.273 3.3.2.4 Un écrit instaurateur et commentateur…………………..…………p.275 Conclusion…………………………………………………………………………………..……p.281 1968-1988 ; Une oeuvre ouverte Annexe 1 : Schéma synoptique de l’affaire Learning from Las Vegas (1968-1980)………...……p.287 Bibliographie…………………………………………………………………………...…………p.289 Sur Las Vegas ; Sur la ville, le paysage et l’architecture de bord de route aux USA (1950-1969) ; Sur les Venturi ; De Robert Venturi et Denise Scott Brown ; Sur l’histoire et la théorie de l’architecture et de l’urbanisme ; Sur le postmodernisme ; Sur les livres d’architecture ; Sur les études littéraires, les sciences humaines et sociales.
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